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THE CLEVELAND MUSEUM OF ART MEMBERS MAGAZINE

September/October 2013

CLEVELAND ART

FROM THE DIRECTOR

Dear Members,

Many of you may have seen the recent articles regarding
the Sicily: Art and Invention between Greece and Rome
exhibition. We are thankful that we were able to come
to a resolution with the government of Sicily to bring the
amazing objects and innovative scholarship this exhibi¬
tion encompasses to Cleveland. Visitors to the exhibition
will come away with a rich appreciation for the role this
vibrant crossroads of the Mediterranean played in the
evolution of Greek and Roman culture (see page 4).

The first CM A exhibition at the Transformer Sta¬
tion opens September 7. The Unicorn showcases artists
whose work taps themes of memory. Inspired by the
book of the same title by the German author Martin
Walser, The Unicorn exemplifies how the museum plans
to develop site-specific exhibitions designed to make the
most of the Transformer Station’s unique informal char¬
acter. Reto Thiiring introduces the exhibition on page 6.

The ancient Greek bronze Apollo that came to the
museum in 2004 is featured in a new focus exhibition
and is the subject of a new book in which curator
Michael Bennett tells the story of this remarkable work
of art and its acquisition. Read his article on page 8.

Curator of African art Constantine Petridis acquired
a stellar group of African art objects in 2010. Rene and
Odette Delenne had built a collection strong in both aes¬
thetic quality and spiritual power, and our curator’s long
acquaintance with the couple eventually led to the op¬
portunity to acquire a group of mostly Congolese works.
These fine pieces are now presented in the Smith exhibi¬
tion gallery, as well as in a new book published this fall.
Read the article about them on page 10.

The only part of the expanded museum still to
open is the west wing and its galleries of Chinese art
and the art of India and Southeast Asia. The two cura¬

tors of those collection areas, Anita Chung and Sonya
Rhie Quintanilla respectively, offer previews beginning
on page 14 of those new galleries in preparation for the
grand opening on New Year’s Eve this December.

Two shorter articles round out the features: one
describing the Friday-evening MIX programs that are
attracting burgeoning crowds to the museum once a
month, and the other previewing an exciting lecture
series featuring two authors of acclaimed books on art
crime and recovery, Robert Wittman and Robert Edsel.

In the programs section you’ll find the season
preview for the entire 2013-14 performing arts series.
The fall programming season comes with an especially
abundant harvest of interesting events, ranging from the
aforementioned author talks, to the annual Collis lec¬
ture, to a symposium on Chinese artist Ai Weiwei (visit
the atrium to see his Circle of Animals/Zodiac Heads if
you have not already), to this year’s editions of the Fine
Print Fair, the Textile Art Alliance Art and Fashion
Show, and the Chalk Festival.

As usual, the best reason to take it easy over the
summer is to be well rested in preparation for September
and October at the Cleveland Museum of Art!

Finally, kudos to the museum-wide team that de¬
veloped Gallery One, which won four MUSE awards for
media and technology from the American Alliance of
Museums this year. No other museum has ever won four
MUSE awards in the same year.

Sincerely,

jTvTwi— : —'

David Franklin

Sarah S. and Alexander M. Cutler Director

COVER

Apollo the Python-
Slayer (detail),
formerly Apollo
Sauroktonos (Lizard-
Slayer), about 350
bc. Attributed to
Praxiteles (Greek,
about 400 BC-about
330 bc). Bronze, cop¬
per and stone inlay;
150 x 50.3 x 66.8 cm.
Severance and Greta
Millikin Purchase
Fund 2004.30

CLEVELAND ART

Cleveland Art: The Cleveland Museum
of Art Members Magazine

Vol. 53 no. 5, September/October 2013
(ISSN 1554-2254). Published bimonthly by
the Cleveland Museum of Art, 11150 East
Boulevard, Cleveland, Ohio 44106-1797.
POSTMASTER: Send address changes
to Cleveland Art: The Cleveland Museum
of Art Members Magazine at the
Cleveland Museum of Art, 11150 East
Boulevard, Cleveland, Ohio 44106.
Subscription included in membership
fee. Periodicals postage paid at
Cleveland, Ohio.

Questions? Comments?

magazine@clevelandart.org

Magazine Staff

Editing: Barbara J. Bradley, Gregory M.
Donley, Kathleen Mills. Education
listings: Liz Clay

Design: Gregory M. Donley

Photography: Howard T. Agriesti,

David Brichford, Gregory M. Donley,
Gary Kirchenbauer

Production assistance: Colleen Griffiths

Printed in Cleveland by Great Lakes
Integrated

cuyahoga

arts & culture

Mixed Sources

Product group from well-manage

10. SW-COC-002546

Ohio Arts Council

A STATE AGENCY
THAT SUPPORTS PUBLIC
PROGRAMS IN THE ARTS

September/October 2013

ON VIEW

Helmet Mask late
1800s-early 1900s.
Democratic Repub¬
lic of the Congo,
Suku people. Wood,
basketry reed,
metal; h. 51 cm.

Rene and Odette
Delenne Collection,
Leonard C. Hanna
Jr. Fund 2010.450

Dragon head from

Circle of Animals/
Zodiac Heads

(2010) byAi Wei-
wei (Chinese, b.
1957), as installed
in the Ames
Family Atrium.
Bronze series.
Private collection,
USA

Sicily September 29, 2013-January
5, 2014, Smith Foundation Exhibition
Flail. The exhibition, drawn from major
collections worldwide including Sicil¬
ian national landmarks, examines the
art and culture of the Sicilian Greeks
during the Classical and Hellenistic
periods, ca. 480-211 BC, from the
Battle of Flimera to the fall of Syracuse
to the Romans. During these centuries
Sicilian Greek achievements in art
and architecture, poetry and rhetoric,
philosophy and history, as well as
mathematics, engineering, and sci¬
ence, reached levels of refinement and
sophistication rivaling, and in some
cases even surpassing, those any¬
where in the Greek world.

Praxiteles: The Cleveland Apollo

September 29, 2013-January 5, 2014,
focus gallery. This exhibition and
accompanying book reinterpret the
famous bronze sculpture by the Greek
master sculptor Praxiteles. Acquired
by the museum in 2004, the Cleveland
Apollo represents a case study for
why art museums should continue to
bring important antiquities into their
permanent collections for the benefit
of generations to come.

Hank Willis Thomas October 20,
2013-March 9, 2014, photography gal¬
leries and December 14, 2013-March 8,
2014, Transformer Station. Hank Willis
Thomas uses photography, video, the
web, and installations to examine how
history and culture are framed, who is
doing the framing, and how these fac¬
tors affect our views of society. This
exhibition in two venues is the artist’s
largest museum show to date, and his
first in northeast Ohio.

Fragments of the Invisible: The Rene
and Odette Delenne Collection of
Congo Sculpture October 27, 2013-
February 9, 2014, Smith Foundation
Gallery. In 2010 the museum greatly
enhanced its collection of African art
with the acquisition of select works
from the Delenne collection, shown
here for the first time.

Tantra in Buddhist Art Through
September 15, focus gallery. This
exhibition explores the concept and
characteristics of Tantra in the Bud¬
dhist context through art from across
Asia.

Damian Ortega: The Blast and Other
Embers Through September 29, glass
box gallery. The third contemporary
art installation in this space centers
around Damian Ortega’s impressive
suspended sculpture The Controller of
the Universe.

Less Is More: Minimal Prints Through
October 20, prints and drawings gal¬
leries. Donald Judd, Sol LeWitt, and
Frank Stella and others are repre¬
sented in this show of about 50 works
from the 1960s and ’70s when a style
of flat geometric shapes was popular.

Staff Art Show Through December 1,
education lobby. Showcase of artwork
created by museum staff members.

Renaissance Textiles Through De¬
cember 10, gallery 114. About 15 Italian
silks, velvets, and altar frontals of the
14th and 15th centuries from the mu¬
seum’s world-class collection.

Luxuriance: Silks from Islamic Lands,
1250-1900 Through April 27, 2014,
Arlene M. and Arthur S. Holden
Gallery. Sumptuous silks from the
museum’s exemplary collection.

Carrie Mae Weems: Three Decades of
Photography and Video through
September 29, Smith Exhibition Gal¬
lery and photography gallery. Carrie
Mae Weems, dedicated to bettering
the human condition through art, has
for three decades produced challeng¬
ing, compelling photographs, videos,
and installations that address issues of
race, gender, and class.

Organized by the Frist Center for the Visual Arts,
Nashville, Tennessee. This exhibition is supported
in part by grants from the Andy Warhol Founda¬
tion for the Visual Arts and the National Endow¬
ment for the Arts.

Related photo project: My Community
Is , through September 29, education
lobby.

Ai Weiwei: Circle of Animals/Zodiac
Heads through January 26, 2014, atri¬
um. Chinese zodiac sculptures engage
political and cultural history.

Organized by the Cleveland Museum of Art and
AW Asia, Ai Weiwei has been made possible in
part by the E. Rhodes and Leona B. Carpenter
Foundation.

TRANSFORMER STATION
The Unicom September 7-November
30, Transformer Station. The first CMA
exhibition at the Transformer Station
gathers works by artists (Neil Beloufa,
Martin Soto Climent, Haris Epaminonda
and Daniel Gustav Cramer, Shana
Lutker) whose work taps themes of
memory, inspired by the book of the
same title by the German author
Martin Walser.

Michael Bennett Curator of Greek and Roman Art

In Sicily

The island was home to many of Greece’s most creative minds

Coin with a Head of Apollo 410-403 bc. Sikeliote (Sicilian Greek).
Silver; diam. 2.8 cm. Courtesy of the Museo Archeologico Regio¬
nal Paolo Orsi, Syracuse

in the eighth century BC are sometimes portrayed as
youthful transplants in some degree culturally reliant
on Old Greece. However, once such new city-states had
taken root in the Italian peninsula and Sicily, it would be
a misconception to believe that they were passively de¬
pendent on their mother cities, or insecure of their
inventive potential. Indeed, these newly established
Greek city-states (poleis) became fully autonomous, and
by the fifth century BC many had become mature and
powerful metropolises and exporters of original and
influential ideas. By the fourth century BC Syracuse—
under the tyrant Dionysios I—was more populous than
Athens, and her empire rivaled that of Athens in the
fifth century BC. In the three centuries before complete
Roman rule the Sikeliotes developed a distinct regional
identity that became a wellspring of innovation. The
island was home to many of Greece’s most creative
minds, whose products were transformative throughout
the larger Greek world.

EXHIBITION
Sicily: Art and
Invention
between Greece
and Rome
September 27,
2013-January
5, 2014, Smith
Foundation Hall

agna Graecia: Greek Art from South Italy and Sic¬
ily, which opened at the Cleveland Museum of Art in
2002, and then at the Tampa Museum of Art the follow¬
ing year, presented masterworks created in the Greek
colonial city-states of the Italian peninsula and Sicily,
with an emphasis on the Archaic and Classical periods.
By contrast, Sicily: Art and Invention between Greece
and Rome examines the art and culture of the Sicilian
Greeks (Sikeliotes) during the Classical and Hellenistic
periods, ca. 480-211 BC, from the Battle of Himera to
the fall of Syracuse to the Romans. During these centu¬
ries Sicilian Greek achievements in art and architecture,
poetry and rhetoric, philosophy and history, as well as
mathematics, engineering, and science, reached levels
of refinement and sophistication rivaling, and in some
respects even surpassing, those anywhere in the Greek
world. The Roman sack of Syracuse toward the end of
the third century BC profoundly influenced Roman
societal values, after the Roman general Marcus
Claudius Marcellus transferred boatloads of Greek
artworks to Rome. Their public display was said to
have caused a sensation, introducing a popular taste
for Greek art that led to a vigorous culture of private
art collecting among Roman elites.

The new communities established after the first
colonizing migrations of Greeks to the west, beginning

4 September/October 2013

Phiale Mesomphalos (Offering Dish) 325-275 bc. Sikeliote
(Sicilian Greek). Gold; 3.7 x 22.8 cm. Courtesy of the Antiquarium
di Himera

Statue of a Youth
(The Mozia Chari¬
oteer) 470-60 BC.
Sikeliote (Sicilian
Greek). Marble; 181 x
40 cm. Courtesy of
the Servizio Parco
archeologico e am-
bientale presso le
isole dello Stagnone
e delle aree archeo-
logiche di Marsala e
dei Comuni limitrofi-
Museo Archeologico
Baglio Anselmi

Images reproduced
by permission of
the Regione
Siciliana, Asses-
sorato dei Beni Cul-
turali e dell’ldentita
Siciliana. Diparti-
mento dei Beni Cul-
turali e dell’ldentita
Siciliana. Unauthor¬
ized reproduction
prohibited.

Sicily was an exceedingly fertile region within this
world, with the best strategic location in the Mediterra¬
nean Sea: a central crossroads for travel and trade north
to south, or east to west. The climate was very temperate.
So rich were the volcanic soils of Mt. Etna that the Greeks
considered the land blessed by Demeter, the goddess of
grain and fertility. Its borders embraced a dramatic land¬
scape of astonishing variety, where grains, grapes, olives,
almonds, and fruit trees flourished, and expansive grass¬
lands nourished goats, sheep, and cattle. Honeybees were
attracted to blooming carpets of wildflowers, wild game
abounded in its densely forested hills, and the inland
rivers and waters off its shores teemed with tasty fish. To
the Greeks of the mainland who sought to make it their
new home, this surely would have seemed like an Eden, a
verdant and vibrant New World.

Mainland Greek visitors from, for example, Athens or
Corinth would have been dazzled by the ambitious scale,
and lavish excess, of Sicilian city-states such as Syracuse
or Akragas. The dimensions of the enormous Temple of
Zeus at Akragas were bigger than an American football
field. By the Hellenistic period all of the architectural
features a visitor from Athens or Corinth would expect to
see were present in Sicilian city-states: temples and sanc¬
tuaries to the gods, agoras (marketplaces), gymnasia, and
theaters, all designed with dramatic flair and painted in
striking colors. Large figural sculpture would have added
to the spectacle. The exquisitely carved drapery cling¬
ing to the amazing Mozia Charioteer (left) gives a sense
of the Sicilian Greek taste for movement and texture in
sculpture. Even in their coins the Sikeliotes displayed
unmatched artistry. Some die engravers signed their
creations, an innovation unique to the western Greeks.
Remarkably, this typically Greek desire to claim author¬

ship was promoted by the state. The work of such “Sign¬
ing Masters” as Eumenes, Euainetos, Eukleidas, Choiron,
and Kimon was seen as a civic virtue.

In the Classical and Hellenistic periods Sicily was
home to a long list of thinkers, writers, and artists, and
was a tempting lure for luminaries from the Greek main¬
land. These included the famous Athenians Aeschylus
and Plato. Among the impressive roster of Sicilian Greeks
who made names for themselves beyond the borders of the
island was the master rhetorician Gorgias (ca. 485-380
BC), who became wealthy trading on his public perfor¬
mances and teaching workshops. The famous gourmet
Archestratus, a resident of either Gela or Syracuse, wrote
his Life of Luxury (Hedypatheia) in the mid fourth century
BC, a kind of culinary travel guide to eating well. Archi¬
medes (ca. 287-212), a native of Syracuse, was antiquity’s
greatest mathematician, scientist, physicist, and inventor.
He was killed by a Roman soldier during the capture of
Syracuse in 212 BC. Afterwards Sicily was no longer gov¬
erned by Greeks, as Rome’s empire grew ever bigger. But
the cultural gifts the Sikeliotes bequeathed to the larger
Greek world, and its Roman conquerors, left an enduring
legacy. Ittl=

Antefix (Roof Ornament) with a Head of a Silen 470-60 bc.
Sikeliote (Sicilian Greek). Terracotta; 22.9 x 20.3 x 19.7 cm. Courtesy
of the Museo Archeologico Regionale, Gela

5 www.ClevelandArt.org

Reto Thuring Associate Curator of Contemporary Art

The Unicorn

“Surely to breathe life into the past meant resurrecting an event in a
pseudo-vividness that simply denied the pastness of the past.”

—Martin Wa Iser, A Runaway Horse

T he Unicorn is the museum’s first exhibition at the Trans¬
former Station, the new Ohio City art venue dedicated to
cutting-edge contemporary art. Exploring memory and
the (re-) construction of the past, The Unicorn takes its
title from the book by German author Martin Walser.
How we construct, reconstruct, and thus constantly
reshape the past is a recurrent theme in Walser’s influ¬
ential writings, and this group exhibition uses some of
his thoughts as a starting point. All the works question
the past as an immutable and given entity. Instead they
assume that nothing survives as such and that memory
is constructed by subjects looking backward. What we
call the past is therefore unstable and modifiable. The
unicorn as a mythical creature, but referring to a very
common animal, also serves as a metaphor for the cre¬
ative vitality of memory and points to artistic practices
that work on the transgression of the boundary between
documentation and art, truth and myth, fact and fiction.

EXHIBITION
The Unicorn

September 7-
November 30,
Transformer
Station

A Mon Seul Desir (detail), 2013. Martin Soto Climent (Mexican, b.
1977). 108 photographs, digital prints on fine art cotton paper; 22.9
x 30.5 cm, overall dimensions variable. © and image courtesy of
the artist

The Infinite Library, Book #30 2011. Daniel Gustav Cramer (Ger¬
man, b. 1975) and Haris Epaminonda (Cypriot, b. 1980). Book; 22.3 x
15.5 x 1.5 cm. © and image courtesy of the artists

Martin Soto Climent presents a new body of works
that form a second chapter to his earlier The Equation of
Desire, a series of diagrams about the human condition
and 366 photographs. All of the photographs emerge
from a similar process: the artist rolls up and joins dif¬
ferent pages of photographic books such that a new im¬
age arises. The new work refers to the famous tapestries
with the modern title The Lady and the Unicorn that
were woven in Flanders around 1500, especially the
sixth and largest tapestry of the suite. While the first five
tapestries are meant to depict the five senses, the mean¬
ing of the sixth—with the inscription A Mon Seul De-
sir —remains obscure and opens up different approaches
for interpretations and readings.

Haris Epaminonda and Daniel Gustav Cramer
offer a selection of books from The Infinite Library, an
ongoing collaborative project between the two artists
that began in 2007. The expanding archive consists of
dismantled and rearranged picture books that have been
rebound to create new volumes, resulting in newly as¬
sembled meaning (or non-meaning). The new content
follows no traditional logic of authorship or methods of
knowledge transfer. Instead the purpose of each book
is found in its very nature: to be a book, containing
possibility.

Neil Beloufa’s film Untitled (2010) is based on an
anecdote the artist heard about a property near Algiers

September/October 2013

that was abandoned by its owners during the political
unrest in the 1990s and occupied by a terrorist group.
Actors playing the landlord of the house, the gardener,
and the neighbors imagine what the terrorists did there
and why the group chose a modernist villa with floor-
to-ceiling glass windows on all sides as its base camp.
Speculating about the terrorists’ intentions, they retell
and reimagine a dramatic and at the same time absurd
three-year episode, constantly crossing the boundary
between fact and fiction.

Shana Lutker’s intensive research on the Surreal¬
ists’ fistfights has culminated in a new group of sculp¬
tures that relate, in form or idea, to the places where
the disputes took place. The exchanges of fisticuffs and
obscenities between insulted artists across the stages
and streets of Paris began on July 6, 1923, at Tristan
Tzara’s final Dada event, when Andre Breton jumped
on a Paris stage and broke Pierre de Massot’s arm with
a strike of his cane. Lutker’s sculpture for The Unicorn
contains much of the tension, absurdity, drama, and
trauma of the ensuing fight. But the artist embraces
the impossibility of restaging the past and creates her
own, maybe no less true version of an event that gave
birth to Surrealism. Ittl=

\ don'i know if they burned n

Untitled 2010 (still). Nell Beloufa (French, b. 1985). HD video;
15-minute loop. © and image courtesy of the artist. Courtesy of the
Artist, Francois Ghebaly Gallery, Galerie Balice Hertling, Galleria Zero

Epigraph from
Friedrich Christian
Delius, Peter Schneider,
and Martin Walser,
Three Contemporary
German Novellas,
ed. A. Leslie Willson,
trans. Leila Vennewitz
(New York: Continuum,
2001), 91

The Bearded Gas (installation view), 2013. Shana Lutker (American, b. 1978). Wood, MDF, carpet, foamcore, Plexiglas mirrors, chromed
steel, paint, and wire; 4.27 x 5.49 x 3.66 m. © Shana Lutker. Image courtesy of Susanne Vielmetter Los Angeles Projects.

www.ClevelandArt.org

Michael Bennett Curator of Greek and Roman Art

Apollo the Python-Slayer

A new exhibition and book tell the story of an ancient masterpiece

EXHIBITION
Praxiteles: The
Cleveland Apollo

September 29,
2013-January 5,
2014, Focus
Gallery

n the first century AD the Roman author Pliny the El¬
der wrote in his Natural History (34.69-70) that the
famous fourth century BC Athenian sculptor Praxiteles
had created a bronze sculpture depicting a youthful
Apollo about to stab a lizard with an arrow. He used
the epithet sauroktonos (lizard-slayer) to refer to Prax¬
iteles’s masterpiece. Several Roman marble copies of
the work have survived, attesting to its popularity well
into the Imperial period. Acquired by wealthy Romans
to decorate their homes and country villas, these cop¬
ies show a young figure of Apollo leaning on a thick,
leafless tree trunk, up the surface of which climbs a
lizard. Thus, the sculptural type has been known since
Roman times as Apollo Sauroktonos. Roman coins and
engraved gems also illustrated the sculptural type, but
instead of a stout tree trunk, several pictured Apollo
with a slender sapling. The Roman poet Martial used
the adjective sauroktonos in what was possibly a refer¬
ence to a reduced-scale copy of the original, perhaps
cast of a special bronze alloy.

In 2004 the Cleveland Museum of Art acquired the
only known bronze version of the sculptural type. It had
been recovered from an estate in eastern Germany after
German reunification. At that time the legal heir, an
elderly gentleman, successfully claimed the estate and
subsequently found the sculpture in a pile of debris. He
remembered having seen it several times as a young man
when the property belonged to his great-uncle before the
outbreak of the Second World War. Because he believed
it to be an 18th- or 19th-century work inspired by an
ancient prototype, he thought it not worth reconstructing

The Cleveland Apollo Apollo’s left hand Not a Lizard The Python
and forearm

8 September/October 2013

and sold it. Shortly afterward it was identified as ancient
and conserved. I saw it in 2003 in the Geneva gallery of
Phoenix Ancient Art, and the museum acquired it the
following year. Showing signs of severe damage perhaps
sustained during fierce fighting between Hitler’s Nazis
and the Red Army in eastern Germany, Praxiteles’s
masterwork was subsequently stranded between the de¬
structive mayhem of WWII and the paranoia of the Cold
War. The art market rescued it.

All of its technical features are consistent with a
date in the Late Classical period and Praxiteles’s life¬
time. It is clearly the product of a first-rate workshop as
evidenced by the extremely high quality of the modeling
and finishing and the close attention to fine detail evi¬
dent throughout the figure. Consequently, the museum
has dated the work to about 350 BC and believes it might
well be the very sculpture described by Pliny. The

Sacred Way

Sanctuary of
Pythian Apollo,
Delphi, looking
west and southwest
toward the Halos
(foreground and
to the left), with
the Treasury of the
Athenians in the
background (upper
right). Photo:
Michael Bennett

Apollo the Python-
Slayer formerly
Apollo Sauroktonos
(Lizard-Slayer),
about 350 bc.
Attributed to
Praxiteles (Greek,
about 400 bc-
about 330 bc).
Bronze, copper and
stone inlay; 150 x
50.3 x 66.8 cm.
Severance and
Greta Millikin
Purchase Fund
2004.30

Roman marble copies, carved hundreds of years later
as collectors’ items and decorative embellishments, no
longer retained the religious function and meaning of the
original. The Cleveland Apollo permits us to reconstruct
the original context and meaning of Praxiteles’s inten¬
tion and vision.

The Cleveland Apollo is missing the right arm from
above the elbow, the tree, and a large section of the left
arm and shoulder. The current base is not ancient. For¬
tunately, the left hand and much of the forearm survive,
along with a small reptilian creature. This creature is
the key to the work’s meaning. Its strange anatomy—that
of a coiled snake with legs of differing sizes attached
asymmetrically—proves that it is not a lizard from the
natural world, but a reduced-scale Python from the
world of myth. Such asymmetrical and composite fea¬
tures are a violation of nature and identify this legged
serpent as an agent of disorder. Apollo is its polar oppo¬
site. He is the god of light, music, reason, and order, the
headmaster of the Muses. Praxiteles’s original creation
represents Apollo’s victory over the Python, a triumph of
order ( kosmos ) over disorder (chaos).

The sculpture must have been made for the sanctu¬
ary of Pythian Apollo at Delphi. There, Apollo presided
in his temple over his revered oracle at what the Greeks

called the Omphalos, the navel (center) of the world.
Before governing over the sanctuary, Apollo had to van¬
quish the Python, son of Mother Earth. This foundation
myth was ritually renewed during the Septerion festival
at a circular area (the Halos) on the Sacred Way at the
Delphi sanctuary, where Apollo’s triumph was reenacted
by a boy impersonating the god. In all likelihood the
emperor Nero transferred the sculpture to Rome where
Pliny subsequently saw and described it, using what was
a nickname or misnomer. Over time the Roman marble
copies no longer accurately reproduced Praxiteles’s
Python, but instead incorporated heavy tree trunks and
large lizards to better accord with the work’s popular
title. Until the museum’s acquisition of the bronze origi¬
nal there was no reason to doubt that Praxiteles’s great
work was a Sauroktonos. The Cleveland Apollo dem¬
onstrates that Praxiteles’s famous Apollo can be called
Python-Slayer. Ittl =

NEW BOOK

$24.95, by
Michael Bennett,
available in the
museum store

9 www.ClevelandArt.org

Figure Couple late
1800s-early 1900s.
Democratic Republic
of the Congo, proba¬
bly Ngbandi people.
Wood, copper, glass
beads, iron, fabric; H.
45 and 41 cm. Rene
and Odette Delenne
Collection, Leonard
C. Hanna Jr. Fund
2010.459.1-2

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Constantine Petridis Curator of African Art

Fragments of the Invisible

Celebrating a transformative acquisition of African art

Odette and Rene
Delenne on their
wedding day. Ixelles
(Elsene), Belgium,
December 2,1958.
Photographer
unknown. Delenne
Family Archives

EXHIBITION
Fragments of the
Invisible: The
Rene and Odette
Delenne Collec¬
tion of Congo
Sculpture
October 27,
2013-February
9, 2014, Smith
Foundation
Gallery

n icon of northwestern Congo’s Ubangi region, this fig¬
ure couple of presumed Ngbandi origin (left) is one of
34 works of Central African art from the private collec¬
tion of Rene and Odette Delenne in Brussels that the
Cleveland Museum of Art acquired through partial gift
in 2010. Truly transformative, the addition of this group
of Congo sculptures to the museum’s collection has not
only increased its permanent African holdings by more
than 10 percent, it has also placed our Central African
collection on equal footing with the best museum collec¬
tions of this kind in North America.

Celebrating the acquisition of the
Delenne collection of Congo sculpture
and honoring the memory of Odette and
Rene Delenne—who passed away in 2012
and 1998, respectively— Fragments of
the Invisible also explores a theme that
resonates widely throughout the museum’s
collections: the fragment. Not only does
the exhibition address the fragment in
purely material terms, it also examines
its contextual ramifications.

African objects kept in the West are
often physically quite different from how
they appeared in their original context of
use. Damage and deterioration, includ¬
ing breakage and surface erosion, can be
intentional or accidental and may be the
result of repeated handling or extended exposure to the
elements. While in use in Africa, however, objects also
often undergo transformations in meaning and function
which are typically manifested by changes in their ap¬
pearance. Most striking in this regard is the accumula¬
tion or accretion of added materials to a work’s surface
resulting from its application in rituals and ceremonies.
Such additions may include accessories and ornaments
of all kinds as well as coverings of mostly organic mate¬
rials such as chewed kola nuts or mud in a multitude of
combinations.

The archetypal power figure, once inaccurately la¬
beled as “fetish” but now more commonly referred to by
its vernacular name, is perhaps the best-known African
expression of this concept of accumulation. Especially
prevalent in the vast Congo Basin region of Central
Africa, it is well represented in the exhibition through
a number of examples from the Kongo and Songye peo¬

ples. Though Fragments of the Invisible includes some
rather well-preserved power figures, such as a medium¬
sized Songye nkishi , as it is locally known, over time
many such power figures have lost most or all of their
external accoutrements and accessories, and as a result
appear quite naked in the context of a museum or private
collection in the West when compared to their original
appearance.

However, more than from their accumulative or com¬
posite look, Central African power figures derive much
of their capacity to mediate between the worlds of hu¬
mans and spirits from the ingredients
contained within certain body cavities.
Inserted in a hollow within the head,
abdomen, rectum, or other body part,
these substances procure the sculp¬
tures their supernatural efficacy. Yet
many power figures in collections and
exhibitions lack any of the ingredients
that once empowered them. Thus, at
some point in its history, the finial of
the ivory scepter of possible Yombe
origin also would have been packed
with a resin-covered conglomerate
of substances. The “undressing” or
“emptying” of power figures may result
from their continuous manipulation
and the hazards of their transporta¬
tion from Africa to Europe or America, but is sometimes
caused by deliberate acts of desacralization or disem-
powerment on the part of their original users.

The adjective fragmentary also pertains to many
works of African art as they are kept and displayed in
museum galleries or the homes of private collectors such
as the Delennes. Indeed, in their original African settings,
rarely are figure sculptures looked at on their own but
more typically are part of a group of related objects and
experienced together as an ensemble. Rather than being
exhibited and perceived as stationary objects in a display
case or on a pedestal, they most often appear in motion
and in conjunction with other forms of artistic expression,
including music and song or recitation. This dynamic
character of African art and its integrated nature are of
critical importance in African festivals and masquerades.

There is also a metaphysical side to the contextual
application of fragmentary to the arts of Africa. Indeed

www.ClevelandArt.org

RIGHT Male Figure

early 1800s-early
1900s. Songye
people, Demo¬
cratic Republic of
the Congo. Wood
and various other
materials; H. 64 cm.
Rene and Odette
Delenne Collection,
Leonard C. Hanna
Jr. Fund 2010.451

FAR RIGHT Male
Figure early 1800s-
early 1900s. Prob¬
ably Vili people,
Democratic Repub¬
lic of the Congo,
Cabinda, or Repub¬
lic of the Congo.
Wood and various
other materials; H.
42 cm. Rene and
Odette Delenne
Collection, Leonard
C. Hanna Jr. Fund
2010.433

CATALOGUE

$30. Co-published
with 5 Continents
Editions in Milan,
with essays by the
curator and seven
other scholars,
as well as a con¬
servation article
by the museum’s
Colleen Snyder
and Samantha
Springer

most African figures, masks, and other forms of artistic
expression relate to the invisible world of spirits. Wheth¬
er these spiritual entities are ancestors, deities, or more
abstract forces, most typically they are represented by or
rather embodied in the works in question, which helps
explain the abstraction characteristic of so many African
works of art. This is especially true of masks, including
the helmet mask that was once associated with the Suku
people’s puberty rituals for boys (see page 3). Though in
reality the audience will know the actual human identity
of the wearer, everything possible is done to make out¬
siders believe that the masquerader is a spirit being. In
addition to giving the spirits a visual and tangible mate¬
rial form, masks as well as power figures specifically
serve as conduits between the world of the living and the
realm of the spirits.

Fully aware of the deep spiritual references of Af¬
rican art but equally sensitive to its universal aesthetic
qualities, Odette Delenne was thrilled when she found
the Cleveland Museum of Art willing to become the new
home for her Congo sculptures. In doing so, she fulfilled
her wish to preserve as a lasting legacy the integrity of
the core of the African art collection she and her hus¬
band had assembled and cherished over many decades.
However, her choice to transfer the collection to an art
museum in this country, rather than to see it integrated
into one of the ethnography museums in Belgium, was

guided first and foremost by the fact that the Delennes
considered African art equal to the art from any other
part of the world, a philosophy which the Cleveland
Museum of Art has endorsed ever since its inception in

1913. ltH=

Scepter early
1800s-early 1900s.
Democratic Repub¬
lic of the Congo
(most likely),
Cabinda, or Repub¬
lic of the Congo,
probably Yombe
people. Ivory; H.

28 cm. Rene and
Odette Delenne
Collection, Leonard
C. Hanna Jr. Fund
2010.447

12 September/October 2013

ON THE ROAD

See works from Cleveland’s collection
in exhibitions around the world

A Summer at the Water’s Edge: Leisure
Activities and Impressionism Musee
des Beaux-Arts de Caen, France,
through September 29, includes Pierre
Auguste Renoir’s Bathers Playing with
a Crab.

Ed Ruscha-Los Angeles Apartments
Kunstmuseum Basel, Switzerland,
through September 29, includes Ed
Ruscha’s Bronson Tropics.

Impressionism, Fashion, and Moder¬
nity, at the Art Institute of Chicago
through September 29, includes
Jacques-Joseph Tissot’s Seaside (July:
Specimen of a Portrait) and Gustave
Caillebotte’s Portrait of a Man.

Andy Warhol’s Photobooth Collection
Massillon Museum, through October
13, features Warhol’s 1975 screenprint
Mick dagger.

Georges Braque at the Galeries Na¬
tionals du Grand Palais, Paris, Sep¬
tember 16, 2013 to January 6, 2014
and then at the Museum of Fine Arts,
Flouston, February 18 to May 11, fea¬
tures Braque’s Guitar and Bottle of
Marc on a Table.

The Springtime of the Renaissance:
Sculpture and the Arts in Florence,
1400-1460 at the Musee du Louvre,
Paris, September 23 to January 6, in¬
cludes Mino da Fiesole’s monumental
relief sculpture Julius Caesar.

Inventing the Modern World: Decora¬
tive Arts at the World’s Fairs, 1851-
1939, Mint Museum of Art, Charlotte,
September 21, 2013-January 19, 2014.
Includes CMA works by Alexis Falize,
the Sevres factory, the firm of Ferdi¬
nand Barbedienne, Thorvald Bindes-
boll, and Jules-Constant Peyre.

Icon of the Mother
of God and Infant
Christ (Virgin
Eleousa) c 1425-
50. Attributed to
Angelos Akotantos
(Greek). Tempera
and gold on wood
panel; 96 x 70 cm.
Leonard C. Hanna Jr.
Fund 2010.154

Former chief curator
Griff Mann assumed
directorship of the
Cloisters of the Met¬
ropolitan Museum of
Art in New York in
September.

PERSONAL FAVORITE

C. Griffith Mann, former Chief
Curator This is a story about the re¬
lationship between serendipity and
planning in the acquisitions process.
The museum had identified this cat¬
egory of object—a painted icon from
the Eastern Orthodox tradition—as
something that had been missing from
the collection.

We had a visitor here who gave the
Collis lecture, Robin Cormack. We
talked to him about the fact that we
had a really wonderful Byzantine col¬
lection, but one of the missing things
was a great painted icon. Two weeks
after his Collis talk, he wrote back to
curator Stephen Fliegel and said, “I’ve
been asked to go and look at this icon

in a private collection in Rome, and I
thought you might be interested.” It
just so happened that Stephen was in
Italy at the time, so he went to Rome
and then wrote me a very excited
e-mail. The family was thinking about
putting the icon on the auction block,
but we were able to arrange to buy
it directly from them. When it came
here, our conservator Dean Yoder did
about a year’s worth of restoration
work, which was funded by donor Al
DeGulis in honor of former director
Bob Bergman.

All these interesting connections
happened: a curator meeting a long-
held collecting goal; the Collises’
sponsored lectureship that brought
together the people who made it
possible for us to make this acquisi¬
tion; and a donor who supported the
conservation—and the fact that we’re
the kind of institution that can under¬
take sophisticated conservation work.
The before and after was so dramatic:
the purple tones of her garment, the
beautiful blue of the cloth that wraps
her hair as a sign of modesty—we
could tell it was there, but it was great
to see it really come back so much.

Masterpieces of Chinese Painting from
the 8th to the 19th Centuries at the
Victoria and Albert Museum, London,
October 5 to December 29, features
two CMA works: the Yuan dynasty
Bodhidharma Crossing the Yangzi on
a Reed and Shen Zhou’s Twelve Views
of Tiger Hill, Suchou: The Thousand
Buddha Hall and the Pagoda of the
“Cloudy Cliff” Monastery.

Journey through the blue: La Vie
Museu Picasso, Barcelona, October
10, 2013 to January 19, 2014 is built
around the museum’s Pablo Picasso
masterwork La Vie.

The CMA’s great George Bellows
painting Stag at Sharkey’s is getting
closer to home; it’s just down 1-71 in
Columbus through January 4 for the
exhibition George Bellows and the
American Experience.

There’s something special in the hu¬
manity between the mother and child.
The composition is both stylized and
yet eminently approachable, just beau¬
tiful. Those graceful elongated fingers
are a hallmark of the Byzantine painting
tradition—there’s a kind of elegance, a
certain formality, but also a gentleness.

Now there are very few collections
in the United States with great medi¬
eval holdings that can boast a great
icon, especially featuring such a key
subject. One of the great moments in
storytelling in the visual arts happens
during the Middle Ages, the great age
of wall murals, stained glass decora¬
tion, all these wonderful goldsmith and
metalwork objects. It transports you.
One of the things that’s really great
about an acquisition like this is it is very
meaningful to our Eastern Orthodox
Christian community, so it helps cre¬
ate bridges. That would be true in New
York as well, but I’m very proud to say
that this icon is probably better than
anything the Met has, and I take pride
in being a part of a group of people
that brought it to Cleveland. I think it
will emerge as one of the great icons in
the country.

Anita Chung Curator of Chinese Art

Chinese Masterworks

Highlights from the new galleries set to open in December

Drum Stand China,
said to be from
Changsha, Hunan
province, State of
Chu. Eastern Zhou
dynasty, Warring
States period (475-
221 bc). Lacquered
wood; 132.1x124.5
cm. Purchase from
the J. H. Wade
Fund 1938.9

n presenting the museum’s Chinese art collection in the
new west wing, a fundamental consideration is to high¬
light the characteristics of this collection as we weave
together art, meaning, time, and space in the art-histori¬
cal narratives. As one of the most significant Chinese art
collections in the West, the Cleveland collection spans
more than 5,000 years, from prehistory to the contempo¬
rary era, encompassing a variety of art forms, including
bronze, jade, ceramic, sculpture, painting, calligraphy,
textile, lacquer, and furniture. The collecting scope
reflects how art museums and academic communities
have defined the discipline of Chinese art history since
the last century, which is subject to on-going transforma¬
tion, redefinition, and expansion. The museum’s quest
for artistic excellence has resulted in a famous collec¬
tion of superlative quality. Viewed from the perspective
of representing China’s artistic tradition, this collection
offers considerable depth and breadth for those interested

Tomb Guardians 700s. China, Shaanxi province, Xi’an. Tang dynasty (618-907). Glazed
earthenware, sancai (three-color) ware. 92.3 x 43.8 x 41.9 cm and 88.9 x 41 x 50.8 cm. Gift
of various donors to the department of Asian Art (by exchange) 2000.118.1-2

in gaining deeper insights into culture and history, and
also contains well-known and signature works that fulfill
aesthetic and intellectual satisfaction.

The CMA’s Chinese collection represents the highest
achievements of a culture in terms of human creativity,
artistic innovation, and technical advancement; it appeals
to our aesthetic senses and intellectual inquiries and
engages us. To highlight these qualities, the new instal¬
lations play on two overarching themes: “art journeys
through time and space” and “connoisseurship.” The art
journeys unfold China’s long artistic tradition with a histor¬
ical perspective, offering a sequence of experiences of the
arts of various times and places in Chinese art history. It is
through a temporal structure that the richness and diver¬
sity of the collection can be fully exploited, the patterns of
continuity and change can be detected, the meanings of art
in specific historic contexts can be explored, and questions
about the future—which have some connection with the
past—can be further addressed.

14 September/October 2013

Bodhisattva 700s. China, Hebei Province. Tang dynasty (618-907).
Marble; 177.8 x 64 x 58.5 cm. Purchase from the J. H. Wade Fund
1929.981

Jar with Lion-head Handles 1300s. China, Jiangxi Province, Jing-
dezhen kilns. Yuan dynasty (1271-1368). Porcelain with underglaze
painted decoration, blue-and-white ware; mouth diam. 15.6 cm,
overall 39.4 x 37.5 cm. John L. Severance Fund 1962.154

Portraits of
Emperor Qian-
long, the Empress,
and Eleven Im¬
perial Consorts
1736-about 1770s.
Giuseppe Castiglione
(Italian, 1688-1766)
and others. Hand-
scroll, ink and color
on silk; 53.8x1154.5
cm. John L. Sever¬
ance Fund 1969.31

Connoisseurship is reemphasized to heighten
aesthetic awareness. This should not be mistaken as
perpetuating traditional elitist tastes that once shaped
Chinese art discourses. Instead, a truly democratic ap¬
proach to art appreciation and education requires the
elucidation of aesthetic concepts and criteria of value
specific to various cultural groups. It is hoped that by
reaffirming the significance of connoisseurship—the
backbone of this outstanding collection—as a valid tool
of art education and cultural understanding, the aes¬
thetic and cultural values of our Chinese holdings can
be better understood, shared, and appreciated. The new
installations provide remarkable opportunities for such
endeavors. Itfl=

Tripod Cauldron (Ding) 1000s bc. China, Early Western Zhou
dynasty (1046-771 bc). Bronze; H. 57.4 cm. Severance and Greta
Millikin Purchase Fund 2003.2

15 www.ClevelandArt.org

Sonya Rhie Quintanilla George P. Bickford Curator of Indian and Southeast Asian Art

Indie Art Returns

A curatorial preview of the upcoming reinstallation of Cleveland’s
renowned collection of Indian, Southeast Asian, and Himalayan art

O n New Year’s Eve, 2013, the museum will celebrate the
opening of its galleries of historical art from India and
the neighboring countries of Pakistan, Afghanistan, Ne¬
pal, Tibet, Cambodia, and Thailand. Cleveland’s hold¬
ings in these areas, which rank among the world’s finest,
testify largely to the curatorial acumen of Stanislaw
Czuma and the directorial vision of Sherman Lee. Seen

RIGHT

Standing Buddha

late 10th to early
11th century. India,
Kashmir. Brass; H.
98.1 cm. John L.
Severance Fund
1966.30

FAR RIGHT
Ravana Shaking
Mount Kailasa 8th

century. Central
India. Sandstone;
139 x 72 cm. Sundry
Purchase Fund
1971.173

in a new light and fresh spaces, the works are presented
in five sections that introduce visitors to Indie religious
traditions, marvelous stories, and historical figures
through the lens of some of the field’s most important
and aesthetically stunning objects in a wide range of
media.

The gallery with art from ancient India, ranging in
date primarily from the second century BC to the fifth
century AD, is anchored by the concept of the Buddhist
stupa , a sacred monument and main focus for worship
and veneration. The early monumental stupas were solid
hemispherical domes empowered by relics of the Bud¬

dha buried within. They were surrounded by railings
and subsidiary shrines filled with imagery pertaining to
life and abundance, which offset the funerary connota¬
tions of the stupa itself. As Buddhism developed through
the first millennium AD, the figure of Buddha himself
became increasingly important as an object of worship.
The lithe and imposing metal image of the Standing
Buddha made in Kashmir, in the foothills of the Hima¬
layas, was brought to Western Tibet as a key component
of the transmission of Buddhist styles from India to the
Himalayas. This landmark work will be installed as the
opening object of the museum’s new Himalayan gallery.

Two major spaces focus on art of India and South¬
east Asia from the Gupta to Medieval periods of the fifth
through 12th centuries. The sculptures on view will
reveal the process of Indianization of Southeast Asian
art in both Buddhist and Hindu imagery. The dramatic
glass gallery will feature art associated with the Hindu
god Shiva in works of bronze and stone from various

The Parrot Ad¬
dresses Khujasta
on the Eighth
Night folio 51 v
from Tales of a
Parrot about
1560. Attrib¬
uted to Banavari
(Indian, active
mid-16th century).
Opaque watercol-
or, ink, and gold
on paper; 20.3 x
14 cm. Gift of Mrs.
A. Dean Perry
1962.279.51.a

Kneeling Male
Figure 1010-80.
Cambodia. Bronze;
H. 43.2 cm. Leonard
C. Hanna Jr. Fund
1978.8

regions of India, Cambodia, and Indonesia. Bronze im¬
ages made to carry the presence of the deity in proces¬
sion out of the temple on festival days will be installed
on the outermost perimeter wall facing stone tableaus
with scenes from Shiva’s mythology, including Ravana
Shaking Mount Kailasa. According to a prominent
Hindu worldview, Shiva is understood as the omnipotent
creator of the world. He manifests himself as a strange
and alluring deity who resides on Mount Kailasa in the
Himalayas with his wife, Parvati, who embodies his
creative energy in the form of a beautiful young mother.
The 10-armed demon Ravana challenged Shiva’s power
by attempting to shake loose Mount Kailasa and carry it
off to his island of Lanka. The shaking startled Parvati,
whom the sculptor has skillfully depicted in the act of
turning to cling more tightly to Shiva as she looks up
to him for protection. Completely unfazed, Shiva had
only to press down his big toe to quell Ravana, and the
couple could continue to dally in peace. Shiva looks
like both a yogi and a king—contradictory roles that he
assumes simultaneously in this four-armed manifesta¬
tion. His trident and bull are included as his key mono¬
graphic features. The tableau swirls with the energy
of the subsidiary figures and the undulating abstract
rendition of the rocky mountain being shaken by the
demon below. Set off against the densely textured array,
the hierarchically scaled main figures stand out with the

www.ClevelandArt.org

smoothness of their bodies and the beauty of their forms
as the sculpture’s central focus. Cambodian and Indo¬
nesian depictions of Shiva and his followers, such as the
important bronze Kneeling Male Figure with his third
eye of knowledge, complement the Indian sculptures on
the east side of the glass box.

Works depicting scenes from India’s treasury of
story literature are the focus of the section that displays
light-sensitive paintings of jewel-like quality and vibran¬
cy. Central to this section are pages from Tales of a Par¬
rot ., one of the first illustrated manuscripts to have been
made at the court of the Mughal Empire, which extended
from 1526 to 1858. Originally written in Sanskrit but
retold in Persian, the stories related by a parrot to his
master’s wife over the course of 52 nights were so en¬
gaging that she stayed at home to hear them, instead of
slipping away illicitly to meet her lover. The celebrated
Mughal emperor Akbar (1556-1605) commissioned this
work as an adolescent, having selected several dozen
Indian artists to be trained by seven court painters from
Iran to produce this lavishly illustrated book. The paint¬
ings are extraordinary in their admixture of Persian and
Indian stylistic elements, revealing the mechanisms by
which one of the world’s great art forms, known as Mu¬
ghal painting, came about.

The new galleries of Indian, Southeast Asian, and
Himalayan art promise to provide joyous and variegated
experiences with thematic displays that are tightly orga¬
nized according to chronology and geography. Covering
vast expanses of time and history, Cleveland’s collection
brings forward the unique aesthetic genius of the region,
where stone takes on the qualities of flesh, metal emits
a spiritual energy, and paintings dazzle with color and
fantasy. Ittl=

Caroline Guscott Communications Manager

MIX: Arts and Cultures

This popular monthly event series features an ever-changing mix of art,
music, and mingling

MIX: WHEN

MIX takes place
on the first Friday
of every month
5:00-9:00. Visit
ClevelandArt.org/
MIX each month
for the next
event’s theme, or
just show up and
enjoy! $8; $10 day
of event. Members
free. Next up: MIX:
Form September
6 and MIX: Muse
October 4 (see
P- 31)

ctober marks the first anniversary of one of the museum’s
most popular programs: MIX at CM A. Each month,
around 2,000 culturally inclined Clevelanders attend
the art-centric first Friday happy-hour, which has almost
tripled in monthly attendance since its start. The series
was recently featured in the New York Times travel section
(“Culture Blooms in Cleveland,” July 21).

Each event focuses on a different aspect of the mu¬
seum—from January’s Runway, a fashion show featuring
creations inspired by the exhibition Wari: Lords of the
Ancient Andes; to February’s Interface, celebrating the
opening of Gallery One; to August’s Caliente, a tropi¬
cal dance party highlighting Latin American art in the
collection. “Each month attendees have a spectrum of
opportunities to engage with art in a meaningful way,
depending on their preferences—whether that’s through
a whistle-stop highlights tour, or a team scavenger hunt,
or a hands-on craft activity,” says audience engagement
specialist Bethany Corriveau.

Music also features strongly at each MIX event,
with DJs spinning anything from French avant-garde to
pop and rock, and from nationally known live acts such
as indie-folk band Bethesda and electronica artist
Teengirl Fantasy, to an incredible and rare performance
of John Cage’s famous (or infamous) HPSCHD.

A collaboration among the museum’s education,
membership, and marketing departments, MIX encour¬
ages longtime members and first-time visitors alike to
engage with the collection and each other. “People come
by after work for a couple of cocktails with friends, and
discover aspects of the collection they may never have
explored before,” explains communications manager
Rebecca Astrop. The series is designed with two key
motivations in mind: to create opportunities for people
to have meaningful experiences with art, and to do so
in an approachable social environment. The idea is to
encourage all attendees to think of the museum as
their space.

Members enjoy the benefit of free admission to MIX
at CM A, and the general public is welcome to attend at
the cost of $8 in advance or $10 on the day of the event.
“MIX has proved to be a fantastic way to introduce
people to the museum,” says Aaron Petersal, director of
visitor experience and membership. “We’ve had long¬
standing members bring a guest to MIX—a friend who
hasn’t set foot in the building since childhood. They’ve
had a great experience, decided to come again next
month, and left that night as a museum member. To
me, that’s a sign that we are Tiling a niche here in
Cleveland’s art scene.” Ittl=

September/October 2013

Bethany Corriveau Audience Engagement Specialist

Art Rescuers

Two acclaimed authors visit the museum for Wednesday-evening lectures
in the series “Stolen Art, Heroic Recoveries”

BELOW

Monuments Men

James Rorimer,
second from left

estruction and theft have left scars on the history of
art, but amidst crime and war, heroes have stepped up
to save the world’s treasures. The museum is excited to
present this rare educational opportunity to hear two of
the world’s foremost experts on art crime and recovery.

On October 16 we welcome Robert K. Wittman, re¬
nowned art investigator and founder of the FBI’s National
Art Crime Team. Wittman recovered over $300 million
worth of stolen art and artifacts during his 20-year ca¬
reer, including one of the 14 original copies of the Bill of
Rights, Geronimo’s war bonnet, and a Rembrandt self-
portrait from the Swedish National Museum. After retiring
from the FBI in 2008, he penned the best-selling memoir
Priceless: How I Went Undercover to Rescue the World's
Stolen Treasures (2010). He discusses cases, shows video
of sting operations, and discusses career paths in the field
of art crime investigation. Join us for a reception at 6:00
preceding the talk. Presented by the FBI Citizens’ Acad¬
emy Foundation of Cleveland and Garth’s Auctions, Inc.

Three weeks later, on November 6, the Painting and
Drawing Society presents Robert M. Edsel. How did so
much of the art and architecture of Europe escape
destruction during World War II? Edsel, author of The
Monuments Men: Allied Heroes , Nazi Thieves and the
Greatest Treasure Hunt in History, Rescuing Da Vinci ,
and most recently Saving Italy: The Race to Rescue a
Nations Treasures from the Nazis , tells the story. A
cinematic adaptation of The Monuments Men , starring
George Clooney, will be released in December. Cleveland
native James Rorimer, son of the famed designer Louis
Rorimer, was among the original Monuments Men in
Europe, and former CM A director Sherman Lee also
served as a Monuments Man in Japan. Edsel relates the
amazing true stories of the unsung heroes who saved
the world’s greatest art and cultural treasures from the
ravages of war.

A book signing follows each talk, with books avail¬
able for purchase in the museum store. rftl=

TICKETS
Robert Wittman

Wednesday,
October 16, 6:30

Sponsored by FBI
Citizens’ Academy
Foundation of Cleve¬
land with additional
support from Garth’s
Auctions, Inc.

Robert Edsel

Wednesday,
November 6, 6:30

Sponsored by the
Painting and Drawing
Society

Gartner Audito¬
rium. Each talk
$30, CMA mem¬
bers $25. See both
and save: $50,
CMA members
$40. Student tick¬
ets (limited) $5,
in person at the
ticket desk only.
Must show current
student ID.

CM A PERFORMING ARTS SERIES 2013-14 SEASON OVERVIEW

Programs bringing 18 outstanding per¬
formances from around the globe and
the U.S. explore four themes: Masters
of the Violin, Asian Performances—
Part One: The Subcontinent of India,
Flamenco Festival, and Mother and
Child.

Pick up a season brochure for full
details or visit us online to hear mu¬
sic samples, watch video, and read
more—including related preconcert
talks and special prix fixe dinners—at
ClevelandArt.org/PerformingArts.

L. Subramaniam October 4, 2013,
7:30. The “Paganini of Indian classical
music” performs Carnatic music with
his ensemble (1)

#1=

' A

I5r

Ray Chen Wednesday, February 12,
7:30. Compelling young violinist offers
a recital with pianist Julio Elizalde (8)

Riccardo Minasi & Musica Antiqua
Roma Wednesday, February 19, 7:30.
The exciting and engaging Baroque
violinist plays hidden gems of 17th-
and 18th-century Italian composers
with his chamber ensemble (9)

Eva Yerbabuena Ballet Flamenco

Wednesday, March 5, 7:30. One of the
finest flamenco dancers with her com¬
pany of musicians (10)

O’Connor String Quartet Wednesday,
October 30, 7:30. New American clas¬
sical music rooted in bluegrass and
jazz (2)

Jordi Savall and Hesperion XXI Fri¬
day, November 1, 7:30. Music from the
cycles of life in the mosaic of Chris¬
tians, Sephardic Jews, and Muslims of
the Balkans (3)

Masters of the Fiddle: Natalie Mac-
Master and Donnell Leahy Friday,
November 15, 7:30. A whirlwind of
fiddle-driven music, dance, and song,
combining the best of French, Celtic,
American bluegrass, and even Cajun
styles (4)

Kayhan Kalhor Wednesday, Novem¬
ber 20, 7:30. Persian classical music
performed by the kamancheh (Persian
spiked fiddle) virtuoso with santoor (dul¬
cimer) and tonbak (goblet drum) (5)

State Symphony Capella of Russia

Ames Family Atrium. Wednesday,
December 4, 9:00. The astounding
50-member mixed choir returns for
another evening of glorious music in a
spectacular space (6)

Gil Shaham, Violin Thursday, February
6, 7:30. Sonatas and partitas for solo
violin by J. S. Bach performed by one of
today’s preeminent violinists (7)

20 September/October 2013

Estrella Morente Wednesday, March
12, 7:30. Spanish superstar singer of
amazing power and rhythm (11)

Tomatito Friday, March 14, 7:30. One of
Spain’s greatest guitarists appears with
his music and dance ensemble (12)

Sufi Devotional Music: Asif Ali Khan

Wednesday, March 19, 7:30. Qawwali
vocal music that ranges from medita¬
tive and trance-inducing to thrilling
and ecstatic (13)

Nrityagram Dance Ensemble Friday,
April 11, 7:30. A blend of Odissi (a
classical Indian dance form) and con¬
temporary concepts that transports
viewers to enchanted worlds of magic
and spirituality (14)

Midori Saturday, April 12, 7:30. Master
violinist performs music by Schubert,
Lutostawski, J. S. Bach, and Beethoven
with piano (15)

Roby Lakatos Friday, May 2, 7:30.
Flungarian folk music and more by the
scorching violin virtuoso and his en¬
semble (16)

FREE CONCERTS

First Wednesdays Chamber music
in the galleries October through May
(except January), 6:00

Mother and Child Saturday, Decem¬
ber 14, 2:00. Themed choral event
throughout the museum featuring
Quire Cleveland, the Cleveland Or¬
chestra Youth and Children’s Cho¬
ruses, and Todd Wilson & the Trinity
Cathedral Choir

Sujatha Srinivasan: Classical
Bharatanatyam Dance of India Sun¬
day, May 11, 2:00. An afternoon of
dance inspired by the museum’s
Matrika (“Mother and Child”)
sculpture

OCTOBER CONCERTS

L. Subramaniam
and

A. Subramaniam

L. Subramaniam Friday, October 4,
7:30. Dr. L. Subramaniam is considered
India’s violin icon, with the serenity of
an Indian musician combined with the
magnetism of a Western star. Con¬
stantly performing all over the world,
he entrances audiences with the ele¬
gance and virtuosity of his style. His
career as a childhood prodigy brought
him into contact with the greatest mu¬
sicians and he soon became a master
of the violin. Since 1973 Subramaniam
has made historic collaborations and
recordings with renowned musicians
such as Sir Yehudi Menuhin, Stephane
Grappelli, Stevie Wonder, Jean-Pierre
Rampal, and Herbie Hancock, among
others. “Greatest of classical Indian
violinists, [he] was both Paganini
and Poet ”—San Francisco Chronicle.
$33-$51.

Preconcert Talk 6:00. Sonya Rhie
Quintanilla, George P. Bickford Cura¬
tor of Indian and Southeast Asian Art.
Preview of the reopening of the Indian
and Southeast Asian galleries.

21 www.ClevelandArt.org

O’Connor String Quartet Wednes¬
day, October 30, 7:30. The Cleve¬
land Institute of Music joins CMA
to co-present Grammy Award¬
winning violinist and composer Mark
O’Connor—widely recognized as one
of the most gifted contemporary
composers in America. A product
of America’s rich aural folk tradition
and also trained in the classical and
flamenco music traditions, O’Connor
studied with Benny Thomasson,
who ushered in the modern era of
American fiddling in the 1940s, and
Stephane Grappelli, the French jazz
violinist who was one of the great¬
est improvisers in the history of the
instrument. O’Connor’s quartet offers
an unforgettable evening of explora¬
tions, featuring high-flying, virtuoso
duets with each possible pairing of
the group members. “One of the
most spectacular journeys in recent
American music ”—New York Times.
$33—$51.

Preconcert Conversation 6:00.

Mark O’Connor and Joel Smirnoff,
president of the Cleveland Institute
of Music.

THANKS

These performances are made possible in part by

The Ernest L. and Louise M. Gartner Fund

The P. J. McMyler Musical Endowment Fund

The Anton and Rose Zverina Music Fund

Gallery concerts are made possible in part by the
generosity of an anonymous donor.

Series Sponsors:

O’Connor String Quartet

ALL NEW MOVIES

New films from around the world.

All shown in the lecture hall unless
noted, and admission to each is $9;
CMA members, seniors 65 & over, and
students $7; or one CMA Film Series
voucher.

Becoming Traviata Friday, September
6, 6:45. Sunday, September 8,1:30.
Directed by Philippe Beziat. Director
Jean-Francois Sivadier works with
soprano Natalie Dessay on a 2011
French production of Verdi’s La Traviata

DAVE FI LI PI PRESENTS
Rare Football Newsreels Wednesday,
September 25, 6:45, Gartner Audito¬
rium. Dave Filipi, director of film/video
at the Wexner Center in Columbus, is
familiar to CMA moviegoers for his an¬
nual program of “rare baseball films.”
Tonight he departs the diamond for a
special show of vintage pro and col¬
lege gridiron highlights culled from
the Metrotone News Collection at the
UCLA Film & Television Archive. Be¬
fore television, theatrical newsreels al¬
lowed fans to see football players from
around the country in action. Thanks
to film, these greats are still in mo¬
tion, still larger than life: the Browns’
Otto Graham and Jim Brown, OSU’s
Hopalong Cassady, Knute Rockne of
Notre Dame, and many others. (USA,
1903-1970s, approx. 90 min.) Special
admission $10; CMA members, seniors
65 & over, students $8; no vouchers or
passes. Special thanks to Steven Hill
and Todd Wiener, UCLA Film & Televi¬
sion Archive.

The Wall Hiking in this new documentary that strips
detour away the opulence of grand opera to

reveal the work done in stark rehearsal
rooms. “An exquisitely observed look
at performance and the creative pro¬
cess” -L.A. Times. Cleveland premiere.
(France, 2012, subtitles, 120 min.)

The Wall Friday, September 13, 7:00.
Sunday, September 15,1:30. Directed
by Julian Roman Polsler. With Martina
Gedeck (The Lives of Others). A wom¬
an hiking in the Austrian mountains
finds herself cut off from civilization
by a mysterious invisible wall, forcing
her to fend for herself in a beautiful
but forbidding wilderness. “Riveting
and emotionally involving from start
to finish” -Screen International. Cleve¬
land premiere. (Austria/Germany,
2012, subtitles, 108 min.)

Computer Chess Friday, September
20, 7:00. Sunday, September 22,1:30.
Directed by Andrew Bujalski. In this
unique new indie film set 30 years
ago, brainy computer programmers
try to make a machine beat a human
at chess during a weekend tourna¬
ment. “An endearingly nutty, proudly
analog tribute to the ultra-nerdy inno¬
vators of yesteryear” -Variety. Cleve¬
land premiere. (USA, 2013, 92 min.)

22 September/October 2013

FILMMAKER IN PERSON!

Evocateur: The Morton Downey Jr.
Movie Friday, September 27, 6:45. Sat¬
urday, September 28,1:30. Directed by
Seth Kramer, Daniel A. Miller, and Jer¬
emy Newburger. With Stanley Crouch,
Sally Jessy Raphael, Al Sharpton, et al.
Morton Downey Jr., the angry, inflam¬
matory NYC talk show host who in¬
sulted his guests and espoused rabidly
right-wing views during his controver¬
sial late 1980s TV show, opened the
door for the obnoxious TV and radio
blowhards of our own era. Downey’s
spectacular rise and precipitous fall
are chronicled in this new film. “This
pull-no-punches portrait shocks and
amuses with equal frequency” -N.Y.
Times. Filmmaker Daniel A. Miller will
answer questions after each screen¬
ing. Cleveland theatrical premiere.
(USA, 2012, 90 min.)

Somm Taste test

Somm Wednesday, October 2, 7:00.
Directed by Jason Wise. In this amus¬
ing and suspenseful new documenta¬
ry, four wine experts take the rigorous
“Master Sommelier” exam, one of the
toughest tests in the world, to join the
rarefied ranks of fewer than 200 indi¬
viduals worldwide. “A delicious tipple”
-N.Y. Post. (USA, 2012, 93 min.)

Herb and Dorothy 50x50 Friday,
October 4, 7:00. Sunday, October
6,1:30. Directed by Megumi Sasaki.

In this follow-up to Herb & Dorothy
(2008), Herb and Dorothy Vogel, the
retired postal clerk and librarian who
amassed thousands of works of mod¬
ern art in their small Manhattan apart¬
ment over a period of five decades,
decide to divide and donate their col¬
lection to the National Gallery of Art
and to one museum in each of the 50
states. (USA, 2012, 87 min.)

Seven Intellectuals in a Bamboo For¬
est, Parts 1 & 4 Wednesday, October
9, 6:30. Directed by Yang Fudong
(b. 1971), a major Chinese filmmaker,
photographer, and installation artist,
Seven Intellectuals in a Bamboo Forest
is a five-part, four-hour film inspired
by the Seven Sages, a group of third-
century Chinese intellectuals who
abandoned government service for a
reclusive life of reflection, discussion,
music, poetry, and drinking. Yang’s
epic work (of which we will show two
parts) finds them reincarnated in the
21st century. Cleveland premiere.
Program introduced by Noelle Giuf-
frida, CWRU. Films courtesy Marian
Goodman Gallery, New York. (China,
2003/2006, subtitles, total 109 min.)

The Missing Piece: The Truth About
the Man Who Stole the Mona Lisa Fri¬
day, October 11, 7:00. Sunday, October
13,1:30. Directed by Joe Medeiros. This

Evocateur Mouthing off

movie tells the true story of Vincenzo
Peruggia, an Italian who stole the
Mona Lisa from the Louvre in August
1911 and kept it in his Paris apartment
for almost two years. (USA/UK/Italy/
France, 2012, 85 min.)

In the Fog Wednesday, October 16,
6:30. Directed by Sergei Loznitsa. A
railway worker is seized by partisans
and accused of being a Nazi col¬
laborator in this sober, haunting, philo¬
sophical drama set in WWII Belarus. “A
masterpiece of serious cinema; long,
slow and grave as the grave” -The
Telegraph (UK). Cleveland premiere.

Al WEI WEI FILM SERIES

A four-film series inspired by the
Chinese artist, activist, and provoc¬
ateur whose Zodiac sculptures are
on view in the museum’s atrium. All
shown in the lecture hall. Admission
free.

Ai Weiwei: Never Sorry Wednes¬
day, September 4, 7:00. Directed by
Alison Klayman. This portrait of the
celebrated Chinese dissident artist
captures him preparing for a major
museum exhibition, interacting with
friends and family members, and
clashing publicly with Chinese gov¬
ernment officials. (USA, 2012, sub¬
titles, 91 min.)

DOUBLE FEATURE!

So Sorry and Disturbing the Peace

Wednesday, September 11, 6:30.
Both directed by Ai Weiwei. These
two recent documentaries by Ai
address the aftermath of the 2008
Sichuan earthquake, in which thou¬
sands of students died in collapsed
school buildings. The first film con¬

cerns the identification of quake victims;
the second revolves around the trial of
civil rights advocate Tan Zuoren, who
criticized the government for shoddy
school construction. (China, 2009/2012,
subtitles, 55/78 min.)

The World Wednesday, September
18, 6:30. Directed by Jia Zhangke.

This piquant take on urbanization and
globalization focuses on two Chinese
20-something transplants from the
provinces who work at Beijing World
Park, a theme park boasting scale rep¬
licas of some of the world’s most iconic
buildings. From the director of Still Life.
(China/Japan/France, 2004, subtitles,
139 min.)

In the Fog Gravely (Germany/Netherlands/Belarus/Rus-

grave sia/Latvia, 2012, subtitles, 127 min.)

The Trials of Muhammad Ali Friday,
October 18, 7:00. Sunday, October 20,
1:30. Directed by Bill Siegel. This new
documentary chronicles the pivotal
years in the life of the great boxer,
during which he converted to Islam,
changed his name from Cassius Clay,
and refused to fight in Vietnam—and
was banned from boxing and faced a
five-year prison sentence. Cleveland
premiere. (USA, 2013, 86 min.)

The New Babylon Wednesday, Oc¬
tober 23, 6:30. Directed by Grigori
Kozintsev and Leonid Trauberg. The
events of the 1871 Paris Commune
are seen through the eyes of a French
department store clerk in this great,
incandescent Soviet silent film shown
with a recording of Dmitri Shostakov¬
ich’s original orchestral score. Shown
as part of the Cleveland Orchestra’s
festival Fate and Freedom: Music of
Beethoven and Shostakovich. At 6:30,
before the movie, CMA curator of film
John Ewing discusses politics, music,
and cinema with Frank Oteri. (USSR,
1929, subtitles, 93 min.)

Special thanks to Nina Goslar, ZDF/Arte and Miles
Feinberg, G. Schirmer, Inc.

La Maison de la Radio Friday, October
25, 7:00. Sunday, October 27,1:30.
Directed by Nicholas Philibert. Ac¬
claimed documentarian Philibert
C Louvre City, To Be and To Have)
prowls the corridors of Radio France,
capturing 24 hours in the busy lives
of the hosts, reporters, engineers,
producers, and other professionals
who populate this public broadcaster’s
distinctive “round house” on the Seine.
“Terrific” -Variety. Cleveland premiere.
(France/Japan, 2013, subtitles, 99
min.)

Old Dog Wednesday, October 30,
7:00. Directed by Pema Tseden. When
mastiffs become prized pets among
wealthy Chinese, a Tibetan father and
son tussle over whether to sell off
the family dog. This is one of the few
Chinese movies filmed in the Tibetan
language. “Subtle and affecting”

-J. Floberman. Cleveland premiere.
(China, 2011, subtitles, 88 min.)

La Maison de la Radio Sounds by the Seine

23 www.ClevelandArt.org

CHALK FESTIVAL

The 24th annual Chalk Festival is Sat¬
urday, September 21,11:00-5:00, and
Sunday, September 22,12:00-5:00.
Enjoy chalk artists and entertainment
at no charge. More information at
ClevelandArt.org/chalk.

Chalk Your Own Pictures Large square
and 24-color box of chalk, $16; small
square and 12-color box of chalk, $8.
Individuals, families, schools, and
neighborhood groups are all invited.
Children under 15 must be accompa¬
nied by supervising adults. Sign up
when you arrive. Groups should pre¬
register by Wednesday, September
18: call 216-707-2483 or e-mail com-
martsinfo@clevelandart.org. Advance
registrations held until 1:00 Sunday.

Chalk Making and Street Painting

Sunday, September 15, 2:00-4:30;
repeats Wednesday, September 18,
6:00-8:30. Preparatory workshop on
chalk artistry. Learn to make chalk
using an old world recipe with new
world materials, along with profes¬
sional techniques for masking, stencil-

COMMUNITY ARTS

Lantern Making Workshops No¬
vember 8-24, Fridays 6:00-8:30 and
Sundays 2:00-4:30. Attend as many
sessions as needed. Most styles take
multiple sessions to complete. Individ¬
uals $50; families $150 up to 4 people,
$25 each additional person. One lan¬
tern per person; $25 each additional
lantern. Info: call 216-707-2483 or e-mail
commartsinfo@clevelandart.org.

COMMUNITY ARTS AROUND TOWN

For updated listings and details visit
ClevelandArt.org.

Garlic Festival Saturday, September
7 and Sunday, September 8, Shaker
Square. Opening procession with pup¬
pets and dancers on Saturday at 1:00
and Sunday at noon. Chalk artists on
Saturday 1:00-5:00 and Sunday noon-
4:00. Panic Steel Ensemble performs
with giant puppets and dancers on
Sunday at 3:00 and 6:00.

Bedford Weekend of the Pooka Sat¬
urday September 14, 4:00-6:00 and
Sunday, September 15, 3:00-5:00. Art
Crew characters perform at Bedford’s
celebration of the arts.

Sparx City Hop Saturday, September
21, noon-4:00. Enjoy street painters
(chalk artists) at Main Flub at Public
Square (southwest quadrant), Trans¬
former Station (West 29th & Church),

A Cookie and a Cupcake (Tremont,
2173 Professor), and ArtCraft Building
(2570 Superior).

Tremont Arts and Cultural Festival

Saturday, September 21 and Sunday,
September 22, noon-5:00. Community
Arts presents Hispanic chalk artists.

Boo at the Zoo Community Arts joins
the SPOOKtacular fun at the Cleveland
Metroparks Zoo, October 17-20 and
24-27 from 6:00-9:00. Performance
details at ClevelandArt.org. For tickets
and information, visit www.clemetzoo.
com.

Art Crew Characters based on objects
in the museum’s permanent collection
give the CMA a touchable presence
and vitality in the community. $50
nonrefundable booking fee and $60/
hour with a two-hour minimum for
each character and handler. Contact
Bill Poynter at 216-707-2487 or
commartsinfo@clevelandart.org.

ing, shading, and enlarging a picture.
$25/individual, $75/family. Children
under 15 must register and attend with
someone older. Fee includes materials
and reserves chalk and a square for
the festival. Contact 216-707-2483 or
commartsinfo@clevelandart.org.

The / Madonnari Chalk Tradition

In 16th-century Italy, beggars using
chalk on the plazas outside cathedrals
copied paintings of the Madonna by
Raphael and his contemporaries. With
these street painters, called I Madon¬
nari (painters of the Madonna), an
artistic tradition was born. To6ay I Ma¬
donnari festivals are held annually in
Europe, Africa, and the United States.
In 1990, our festival brought this Re¬
naissance tradition to Cleveland.

Volunteer at the Chalk Festival Please
call the volunteer office at 216-707-
2593.

Sponsored by Medical Mutual

INTERNATIONAL
CLEVELAND
COMMUNITIES DAY

Sunday, October 13,11:00-4:00. Free.
Cleveland’s ethnic communities join
together to share the richness of their
heritages during this fall festival day.
Inspired by the success of last year’s
atrium opening day, the event features
performances and heritage displays
presented by partnerships with com¬
munity organizations such as the
Cleveland Cultural Gardens, Federa¬
tion of India Community Associations,
Hellenic Preservation Society, SOUP
(Society of Urban Professionals),
and many more. Come and celebrate
Cleveland’s international communities
and art from around the world in the
galleries.

September/October 2013

IN THE GALLERIES

Guided Tours Daily, 1:30; additional
tours Saturday and Sunday, 2:30. Join
our CMA-trained volunteer docents as
they lead visitors through our perma¬
nent collections and free exhibitions.
Tours and topics vary by presenter.
Tours depart from the information
desk in the atrium. Free.

Art in the Afternoon Second Tuesday
of every month, 1:15. Docent-led con¬
versations in the galleries for audiences
with memory loss; designed to lift the
spirits, engage the mind, and provide
a social experience. Free, but preregis¬
tration required; call 216-231-1482.

Curators in Conversation Wednes¬
day, September 25, 7:00, meet in the
Smith Exhibition Flail. Explore the role
of Africa and African art in the work
of Carrie Mae Weems with curator of
photography Barbara Tannenbaum
and curator of African art Constantine
Petridis.

Art Bites Need a break in the middle
of your day? Get some food for
thought with Art Bites, lunchtime talks
with a twist—unique explorations of
the galleries inspired by your favorite
books, television shows, and more.
Meet in the atrium.

Inside Downton Thursday, September
19,12:30. Explore the world of Down-
ton Abbey.

Mysteries in the Museum Thursday, Oc¬
tober 24,12:30. Uncover the museum’s
supernatural side—if you dare!

THE DR. JOHN AND

HELEN COLLIS LECTURE TALKS

An annual lecture devoted to ancient
Greek and Byzantine art

Sicily: Art and Invention between
Greece and Rome Sunday, Septem¬
ber 29, 2:00, Gartner Auditorium. Dr.
Claire L. Lyons, acting senior cura¬
tor of antiquities at the J. Paul Getty
Museum, presents masterpieces of
ancient art from Sicily. On the island-
crossroads dear to Demeter and
blessed with agricultural abundance,
former colonies became powerful
kingdoms during the fifth to third cen¬
turies bc. Innovation in architecture,
coinage, theater, engineering, and sci¬
ence flourished in the mixed cultures
of the western Greek cities. The arts of
the Sicilian Greeks bear witness to the
athletic and military victories, religious
rituals, opulent lifestyles, and intellec¬
tual attainments that shaped Classical
culture and transmitted Hellenism to
Rome. Free, reservations required.

Head of Artemis 600-575 bc. Purchase
from the J. H. Wade Fund 1929.976

Select lectures are ticketedavailable
through the ticket center.

Artist Talk and Performance: Shana
Lutker Saturday, September 7, 4:00,
Transformer Station. As part of her
ongoing research into the fistfights of
the Surrealists, Lutker presents a the¬
atrical reading of a new scripted work
on the opening day of The Unicorn at
the Transformer Station. Characters
include The Nose, The Arm, Sonia De¬
launay, and The Color Green. Free.

Painting Incarnate: The Carracci
Butcher Shop Wednesday, September
25, 5:00. Gail Feigenbaum, associate
director of the Getty Research Insti¬
tute, presents the annual Julius Fund
Lecture in Renaissance Art. A recep¬
tion follows.

Contemporary Artist Lecture Series

Saturday, November 9, 2:00. Roman
Signer experiments with everyday
objects like chairs, canoes, tables,
tents, or remote-controlled helicopters
and relates them to earth, wind, gun¬
powder, fire, and water in unexpected
ways. His sculptures and films are
radical experiments, the outcomes
of which we (and the artist) can only
guess. Rarely seen in the United
States, Signer is thought by many
to be Switzerland’s most important
artist and one of the major figures in
international contemporary art since
the early 1970s. The artist will present
a selection of his films, with commen¬
tary. Free, reservations recommended.

25 www.ClevelandArt.org

STOLEN ART, HEROIC RECOVERY

WOMENS COUNCIL
EVENING PROGRAM

Robert Wittman Wednesday, Oc¬
tober 16, 6:30, Gartner Auditorium.
Wittman recovered over $300 million
worth of stolen art and cultural pat¬
rimony during his 20-year career in
the FBI. Hear about intriguing cases
and see actual video footage of sting
operations. Reception at 6:00 pre¬
ceding the talk. Book signing follows.

Presented by the FBI Citizens’ Academy
Foundation of Cleveland and Garth’s Auctions,
Inc.

Robert Edsel Wednesday, November
6, 6:30, Gartner Auditorium. Edsel
relates the amazing true stories of the
Monuments Men, a group of unsung
heroes who saved great art and cultural
treasures from the ravages of war. Book
signing follows.

Presented by the Painting and Drawing Society

Either talk $30, CMA members $25,
or both for $50/$40. Limited student
tickets $5, in person at the ticket desk
only. Must show current student ID.

Vital Signs: Cleveland Museum of Art
Programs for Healthcare Profession¬
als Wednesday, September 18, 6:00.
Special focus on arts-infused training
in collaboration with the University
Hospitals Residency Program. Find
out how the CMA’s galleries of art
become laboratories for analysis and
exploration, and for building skills
in observation, teamwork, and com¬
munication. Participants include Lisa
Arfons, MD, assistant professor, Case
Western Reserve University School
of Medicine; Laura Martin, PhD, CMA
healthcare education consultant; and
Corey Atkins, artistic associate-
engagement, Cleveland Play House.
Moderated by Caroline Goeser, CMA
director of education and interpreta¬
tion. Free and open to the public.

Sponsored by the Womens Council of the
Cleveland Museum of Art

TAA EVENTS

Collection Visit: Riverdog Studios

Saturday, September 21,10:00-1:00,
Wakeman. Visit the studio, gallery,
and hiking trails of Riverdog Studios.
Deborah Banyas and T. P. Speer began
studying and collecting American and
Mexican folk art in the 1980s, and their
passion for the style became embed¬
ded in their own artwork. We supply
a map of surrounding studios and
vineyards. Bring a lunch to enjoy on
the lush grounds. TAA members $20,
non-members $35. Reservations: Mary
Ann Tipple, 440-327-8087.

10th Annual Wearable Art Fashion
Show and Boutique Sunday, October
20,10:30-5:00, Landerhaven, 6111
Landerhaven Drive, Mayfield Heights,
OH 44124. Preview one-of-a-kind
wearable art, clothing, and accesso¬
ries. Then enjoy lunch and a fabulous
runway show.

PROGRAM

10:30 Patron Preview Shopping

1:00 Luncheon and Fashion Runway
Show

1:00-5:00 Boutique open to the pub¬
lic, $5 at the door

Tickets $55, all-day event

Advance reservations for show and
lunch required. Call CMA at 216-707-
6820.

Information: Barb Lubinski at 330-
283-4627; taafashionshow@gmail.com

September/October 2013

SYMPOSIUM

Circle of Animals/Zodiac Heads

Saturday, September 21,1:00-5:00,
Gartner Auditorium and Ames Fam¬
ily Atrium. Taking Ai Weiwei’s Circle
of Animals/Zodiac Heads as a start¬
ing point, this symposium explores
the challenges facing contemporary
Chinese artists. In a fast-paced art
market, Chinese artists must navi¬
gate between international demand
and national relevance. Can work
relating to Chinese history, culture,
and politics also speak to a global
audience? Speakers include art his¬
torian, writer, and curator Dr. Charles
Merewether, co-author of Ai Weiwei:
According to What? (2012) and
editor of Ai Weiwei: Beijing, Venice,
London, Herzog & de Meuron (2008);
and writer, curator, producer, and
multimedia artist Li Zhenhua, who
has worked with Chinese as well as
international contemporary art and
culture since 1996. Free. Reserva¬
tions recommended.

Circle of Animals/
Zodiac Heads 2010
Ai Weiwei (Chinese,
b. 1957). Bronze
series. Private col¬
lection, USA

JOIN IN

Art Cart A hands-on experience in the
galleries where patrons may touch
genuine works of art in an informal,
intergenerational, and self-directed
format. May be organized for groups
for a fee; contact Karen Levinsky at
216-707-2467.

Artists of Our Region Sundays, Sep¬
tember 8 and October 13,1:00-3:00.
Works by renowned early 20th-century
Cleveland artists who exhibited in the
museum’s May Show and fostered
influential local arts movements.

Make & Take: Craft with Style Every
second Wednesday of the month, join
others in the atrium to participate in
simple craft projects. Cash bar avail¬
able. $5, CMA members $3.

Making Felt Silhouettes Wednesday,
September 11, 5:30-8:00

Simple Book-making Wednesday,
October 9, 5:30-8:00

Embroidering Cards Wednesday,
November 13, 5:30-8:00

Community Photo Project In conjunc¬
tion with Carrie Mae Weems: Three
Decades of Photography and Video,
the museum invites you to participate
in a community photo project that is
a living display at the museum. Take
a photograph that you feel completes
this sentence: “My community is ...”
Submit your photo, your completed
sentence, first and last name, age, and

medium (cell phone camera, Instagram,
digital camera, etc.) via e-mail to
mycommunityis@clevelandart.org.
Rolling submissions for electronic
display accepted through Sunday,
September 29. Must be submitted elec¬
tronically. No nudity, profanity, offen¬
sive or insulting material, watermarks,
or photos created for solicitation pur¬
poses will be accepted.

My Community Is... Adventure

by Frank Lanza

27 www.ClevelandArt.org

ART CLASSES FOR CHILDREN AND TEENS

6 Saturdays, October 19-November 23,
10:00-11:30 or 1:00-2:30. Your child can
learn about the treasures of the Cleve¬
land Museum of Art while developing
his or her own creativity. We learn by
looking at art and making it in the
studios.

Art for Parent and Child (age 3) Morn¬
ings ONLY. Four hands are better
than two! Parents and children learn
together while creating all kinds of art
inspired by gallery visits. Limit 12 pairs.

Mini-Masters: Line (ages 4-5) Discov¬
ery and imagination are encouraged as
children hunt through our galleries to
find lines. Back in the studio they’ll use
all kinds of materials to make art with
lines.

Free Spirits (ages 5-6) Myths and
stories spark students’ imaginations to
create with a variety of media including
paint, fabric, paper, and clay.

Art Adventures (ages 6-8) Students
draw inspiration from around the
world—Europe, Africa, Asia, and the
Americas—then interpret and create
designs and images of their own.

Super Size It! (ages 8-10) Design and
construct sculptures, mixed-media
pieces, and paintings on a HUGE scale!
(Objects must fit through the door.)

Start with the Basics (ages 10-12)
Learn the basic fundamentals of art by
experimenting with line, shape, color,
and pattern to create amazing draw¬
ings, paintings, and images.

Teen Drawing Workshop (ages 13-17)
Teens use perspective, contour, and
shading to create expressive draw¬
ings and linear experiments. The class
learns from observation in the galleries
as well as exercises in the classroom.

Claymation: Bring Art to Life! (ages
11-17) Learn how to make characters
from armatures and polymer clay. Use
paintings from our CMA collection as
the backdrop and breathe new life and
narratives into them. We will use our
editing equipment to produce stop-
action animation shorts. Instructor:
Dave Shaw. Limit 10. $120, CMA mem¬
bers $100.

FEES AND REGISTRATION

Most classes $84, CMA family members
$72. Art for Parent and Child $96/$84.
Claymation $120/$100. Members reg¬
ister after September 1, non-members
after September 16, in person or call
the ticket center at 216-421-7350.

SAVE THE DATES FOR WINTER!

6 Saturdays, January 18-February 22,
mornings or afternoons.

MY VERY FIRST
ART CLASS

4 Fridays, October 4-25,10:00-10:45
(ages V/ 2 - 2 V 2 )

4 Fridays, October 4-25,11:15-12:00
(ages 2 1 / 2 -4 1 / 2 )

Members registration for October be¬
gins September 1; general registration
begins September 16.

4 Fridays, November 1-22,10:00-10:45
(ages VA-l'A)

4 Fridays, November 1-22,11:15-12:00
(ages 2 1 / 2 -4 1 / 2 )

Members registration for November
begins October 1; general registration
begins October 16.

Young children and their favorite
grown-up are introduced to art, the
museum, and verbal and visual lit¬
eracy in this program that combines
artmaking, storytelling, movement,
and play. October topics: Line, Sounds,
Opposites, and Fall. November topics:
Texture, Things that Go, Around the
World, and Food. One adult/child pair
$65, CMA family members $55. Limit 9
adult/child pairs. Additional child $24.
Register through the ticket center.

28 September/October 2013

ADULT STUDIOS

Kids Registration
216-421-7350 or

in person. More
information:
familyyouthinfo@
clevelandart.org or
216-707-2182.

Adult Registration
216-421-7350 or in

person. More infor¬
mation: adultstu-
dios@clevelandart.
org or 216-707-2487.
Supply lists available
at the ticket center.

Cancellation Policy

Classes with insuf¬
ficient registration
will be combined
or canceled three
days before class
begins, with enroll-
ees notified and fully
refunded. Refunds
are issued anytime
before the begin¬
ning of the session.
After the first class,
consideration will be
given to refunds on
an individual basis.

*CAS All watercolor
classes are held at
the Community Arts
Studio (CAS) at 1843
Columbus Road,
Cleveland.

Learn from artists in informal studios
with individual attention.

Intermediate Painting 8 Tuesdays,
September 10-0ctober 29,10:00-
12:30. Supply list at ticket center. Build
on your skills in this relaxed studio
class. Instructor: Susan Gray Be. $195,
CMA members $150.

Introduction to Drawing 8 Tuesdays,
September 10-0ctober 29,12:30-2:30.
Bring your own or CMA provides basic
supplies. Learn simple, effective draw¬
ing techniques using graphite and con-
te on paper. Instructor: Darius Steward.
$195, CMA members $150.

Chinese Painting 8 Tuesdays, Septem¬
ber 10-November 5 (no class October
22), 1:00-3:30. Experienced students
continue explorations in Chinese mas¬
ter techniques. Instructor: Mitzi Lai.
$196, CMA members $150.

Watercolor 8 Wednesdays, September
11-October 30, 9:30-12:00, *CAS. Pa¬
per provided. Materials list discussed
at first class for new students. All levels
welcome. Instructor: Jesse Rhinehart.
$195, CMA members $150.

Printmaking 4 Wednesdays, Septem¬
ber 11-October 2,1:00-3:30. Beginning
and intermediate students use the
prints and drawings collections as in¬
spiration for linoleum and monoprints.
Instructor: Cliff Novak. $100, CMA
members $80 (includes supply fee).

Watercolor in the Evening 8 Wednes¬
days, September 11-October 30, 6:00-
8:30, *CAS. Paper provided. Materials
list discussed at first class for new
students. All levels welcome. Instructor:
Jesse Rhinehart. $195, CMA members
$150.

Beginning Watercolor 8 Thursdays,
September 12-October 31, 9:30-12:00,
*CAS. Paper provided. Materials list dis¬
cussed at first class for new students.
All levels welcome. Instructor: Jesse
Rhinehart. $195, CMA members $150.

All-Day Workshop: Shibori Saturday,
September 21,10:00-4:00 (lunch
on your own). Shibori is a Japanese
tie-dye method for creating complex
patterns, textures, and color on cloth.
Make a T-shirt and cotton scarf. Instruc¬
tor: fiber artist JoAnn Giordano. $90,
CMA members $75. Fee includes dye,
auxiliary chemicals, and fabric. Supply
list at ticket center.

Drawing in the Galleries 8 Wednes¬
days, September 25-November 13,
10:00-12:30 or 6:00-8:30. Sculpture
and paintings in the museum inspire
drawing in charcoal and various pen¬
cils. All skill levels welcome; great for
high school students needing obser¬
vation work for college admission.
Instructor: Susan Gray Be. $202, CMA
members $155. All supplies provided.

Composition in Oil 8 Fridays, Sep¬
tember 27-November 15,10:00-12:30
or 6:00-8:30. Instructor: Susan Gray
Be. Bring your own supplies or buy for
$80. Geared to all levels; great for high
school students needing observation.
Instructor: Susan Gray Be. $213, CMA
members $165 (includes model fee).

All-Day Workshop: Ikebana Saturday,
September 28,10:00-4:00 (lunch on
your own). Learn the traditional art of
Japanese flower arranging. Instructor:
Isa Ranganathan. $85, CMA members
$70. Registration deadline September
20. Supply list at the ticket center.
Students share the flower cost.

Gestural Drawing in the Atrium and
Galleries 3 Sundays, October 20-No-
vember 3,12:30-3:00. Experience the
brilliant light of the atrium while draw¬

ing a live model! Other afternoons will
be spent in the galleries. Instructor:
Susan Gray Be. $95, CMA members
$85. Includes model fee for one ses¬
sion. All supplies provided.

All-Day Workshop: Mold-Built Ceram¬
ics October 20,10:00-3:00 (lunch on
your own). Explore some of the works
in the museum’s collection created us¬
ing molds, then try your hand. Instruc¬
tor: Kristen Cliffel. $100, CMA members
and TRC Advantage $80. Fee includes
parking and supplies. Graduate credit
from Ashland University may be avail¬
able for an additional fee and an addi¬
tional hour of class time (contact Hajnal
Epply at heppley@clevelandart.org).

All-Day Workshop: Slip-Glazed Ce¬
ramics November 3,10:00-3:00 (lunch
on your own). Learn a variety of tech¬
niques involving the application of slip.
Instructor: George Woideck. $100, CMA
members and TRC Advantage $80. Fee
includes parking and supplies. Gradu¬
ate credit from Ashland University may
be available for an additional fee and
another hour of class time (contact
Hajnal Epply at heppley@clevelandart.
org).

29 www.ClevelandArt.org

SECOND SUNDAYS

11:00-4:00. Bring your family to the
Cleveland Museum of Art on the sec¬
ond Sunday of every month for a vari¬
ety of family-friendly activities.

Growing Up Cleveland September
8. Celebrate our city! Join us as we
explore Cleveland artists in our collec¬
tion through hands-on art activities,
Art Stories, Art Cart, movement activi¬
ties, and more!

International Cleveland Communities

Day October 13. Experience Cleve¬
land’s diversity in art and community
by participating in this free all-day
event that showcases local community
groups. The dynamic day features
performances, talks throughout the
collections, and creative activities for
families and friends. Neighborhood
groups share their ethnic heritages
through special displays on view
throughout the day. Come and
celebrate Cleveland’s international
communities!

ART STORIES

Thursdays, 10:30-11:00. Join us in
Studio Play for Art Stories, a weekly
storytime program designed for chil¬
dren ages 2 to 5 and their favorite
grown-up to participate in together.
Free; preregistration encouraged for
each session. Space is limited. Register
through the ticket center.

Teeny Tiny Tales September 5
Shoes, Shoes, Shoes September 12
Dragons September 19
Friends September 26

Babies: All About When You Were
Small October 3

Color, Color Everywhere! October 10
A Is for Art! October 17
Seasons: Fall October 24
Spooky Stories October 31

ART TOGETHER

Each workshop is a unique hands-on
family experience that links art-making
to one of our special exhibitions. At¬
tend one workshop or participate in the
whole series. Each adult/child pair $36,
CMA members $30; each additional
person $5. Register through the ticket
center.

Linocut Block Printmaking Inspired
by Ai Weiwei’s Circle of Animals Zo¬
diac Heads Sunday, September 22,
1:00-3:30. Ai Weiwei’s large sculptures
will inspire us to find our personal zo¬
diac animal and bring it to life in a relief
print. We’ll use simple cutting tech¬
niques to create our blocks and print
them in multiple colors. Best for ages
7 and up.

Mosaic Workshop Sunday, October
20,1:00-3:30. Mosaics from our an¬
cient galleries are the inspiration for
this family workshop. We’ll focus on
color and pattern as we create our own
modern versions of this age-old art
form. Participants can choose between
square glass tile or broken-tile tech¬
niques. Best for ages 7 and up.

FAMILY GAME NIGHT

Mysteries in the Museum Friday, Oc¬
tober 18, 5:30-8:00. Treasure hunts,
puzzling mysteries, and bewitching
fun! Hands-on games in the atrium
and interactive scavenger hunts in
the galleries await you. Help us solve
a mystery, and you’ll go home with a
prize! Plus it wouldn’t be Family Game
Night without museum Twister, Minute
to Win It challenges, and our giant
chess game. Provenance Cafe will have
family-friendly snacks for those who
work up an appetite. $12 per family, $10
CMA members before October 17; $16
per family on day of event. Register
through the ticket center.

STROLLER TOURS

Third Wednesdays, 10:30-11:30. You
need a baby in tow to join this casual
and lively discussion in the galleries—
just for parents and caregivers and
their pre-toddler age (18 months and
younger) children. Limit 10 pairs; free,
but preregistration is encouraged. Reg¬
ister through the ticket center.

30 September/October 2013

Mythical Creatures September 18
Before 1492 October 16

INGALLS LIBRARY

FOR TEACHERS

Medical Mutual

Medical Mutual is the
presenting sponsor for
Second Sundays.

Octavofest: Art Books Cleveland
Travel Journal Project 2013 Wednes¬
day, October 16, 6:30-9:00, North
Court Lobby in the Ames Family
Atrium. Octavofest, a month-long
celebration of book arts, is held in
Cleveland each October. The Ingalls
Library was among the first institutions
to participate. This year the library and
Art Books Cleveland (ABC) collaborate
on the “Travel Journal Project.” ABC
members have created original indi¬
vidual travel journal artist’s books that
will be on display in the Ingalls Library
from October 1 to November 1. The
project was inspired by the donation of
Franny Taft’s personal travel diaries to
the museum archives. On October 16
these beautifully crafted books will be
displayed in the atrium for the evening,
and many of the artists will be on hand
to discuss their work.

eBooks and eReaders now available at
Ingalls Library Ingalls Library has been
steadily building its eBook collection
since March. Accessible via the library’s
online catalog, there are now three
convenient ways to experience eBooks
at Ingalls: from library computer ter¬
minals, your own laptop and/or other
wifi-capable devices on the museum
campus, or by checking out an Ingalls
iPad. The iPads are preloaded with links
to the catalog, online resources, and a
variety of eBooks. Visit the library, or
call the circulation desk at 216-707-2531
for more information.

Library Program Tickets available at
the ticket center. For specific questions
regarding library programs, please call
the reference desk at 216-707-2530.

BOOK CLUB

MIX AT CM A

Art, music, cocktails. Something dif¬
ferent every month. Members free.
General public $8; $10 day of event.
Reservations recommended. Visit
ClevelandArt.org/MIX.

MIX: Form Outside! Friday, September
6, 5:00-9:00. Explore the concept of
form in sculpture, theater, and works
on paper. Absorb the beauty of the
museum’s south terrace during fall, as
the event goes outside one last time
this year. (Weather dependent!)

MIX: Muse Friday, October 4, 5:00-
9:00. Encounters with the muse. In
collaboration with the Cleveland chap¬
ter of the global speaker series Pecha
Kucha, speakers present 20 slides,
each for 20 seconds, on their passion
projects.

The Art Forger by B. A. Shapiro 3

Wednesdays, September 11,18, and 25,
1:30-2:45. Twenty-five years after the
infamous art heist at the Isabella Stew¬
art Gardner Museum—still the largest
unsolved art theft in history—a stolen
Degas painting is delivered to the
Boston studio of a young artist, who
agrees to forge the Degas in exchange
for a one-woman show. As she begins
her work, she starts to suspect that this
long-missing masterpiece may itself
be a forgery. $50, CMA members $40.
The museum store stocks each Art &
Fiction Book Club title. CMA members
receive a 15% discount on all purchases.

HOMESCHOOL STUDIOS

Third Thursdays starting in October,
10:30-12:00. Special studio classes for
homeschool families and organiza¬
tions. Students grouped by age ac¬
cording to enrollment. $8 per student
with one accompanying adult free;

$6 for each additional adult. Intended
for children over age 5. Registration
begins on September 1 for members,
general public on September 15,
through the ticket center.

Fall Scenery October 17
A Feast for the Eyes November 21

Art to Go See and touch amazing
works of art up to 4,000 years old as
the museum comes to you with objects
from the Education Art collection. The
40 to 60-minute presentations are
scheduled Monday-Thursday between
9:30 and 2:30 or Wednesday evenings;
preschool presentations on Fridays. Full
info at ClevelandArt.org. New this
fall: Islamic Art—By Medium and Motif.
While not a comprehensive survey of
Islamic art, this presentation highlights
key themes in Islamic art. Call Karen
Levinsky at 216-707-2467.

NEW! Gallery Explorations Designed
for preschool and kindergarten classes,
these unique hour-long experiences
introduce your class to artworks in the
collection through games and ques¬
tioning strategies designed to build
visual and verbal literacy while con¬
necting to your curriculum. $75 per 18
students. For more information or to
register, visit clevelandart.org.

New! Active Learning Experiences

Gallery One Active Learning Experi¬
ences offer students inquiry-based,
hands-on gallery experiences that
explore themes across content areas.
These interdisciplinary lessons ask
students to take an active approach to
their learning using observation skills
and technology as a research tool
to build meaning. $100 per group of
up to 25 students for grades 1-12,18
students for kindergarten. For more
information and registration, please
contact Hajnal Eppley at 216-707-6811
or heppley@clevelandart.org.

Educator Workshops For up-to-date
information regarding fall educator
events and workshops, visit cleve-
landart.org/learn/in-the-classroom/
upcoming-teacher-workshops.

Teacher Resource Center Visit the
TRC for lesson plans, books, and other
resources to support your curriculum.
Thematic teaching kits are available for
checkout exclusively for TRC Advan¬
tage members. Join TRC Advantage to
receive discounts on workshops, create
a customized curriculum plan for your
classroom, and more! Individual and
school benefit levels are available. For
more information, contact Dale Hilton,
dhilton@clevelandart.org or 216-707-
2491, or Hajnal Eppley, heppley@
clevelandart.org or 216-707-6811.

FINE PRINT FAIR

September 26-29. We’ve moved! Join
us in the Ames Family Atrium of the
Cleveland Museum of Art for the 29th
Annual Fine Print Fair, Cleveland’s
largest and most comprehensive
exhibition of fine prints, sponsored
by the Print Club of Cleveland with
additional support from Key Private
Bank. The Fine Print Fair benefits the
department of prints at the Cleveland
Museum of Art.

THURSDAY, SEPTEMBER 26
Opening Night Preview: A Prints of
a Party 6:00-9:30. Enjoy passed hors
d’oeuvres, small plates, desserts, cash
bar, and an opportunity to select great
works of art on paper before the Fine
Print Fair opens to the public on Friday.
$100 ($125 after September 19) in¬
cludes readmission to the fair through¬
out the weekend. For reservations, call
216-707-2579 by September 19.

PRINT FAIR

Friday, September 27,11:00-7:00
Saturday, September 28,10:00-4:00
Sunday, September 29,10:00-4:00

Tickets $5 (includes readmission all
weekend); students and CMA mem¬
bers FREE with student ID or museum
membership card

Hourly door prizes

SATURDAY, SEPTEMBER 28

Lecture 11:00, Recital Flail

The museum’s curator of prints Jane
Glaubinger speaks on “Prints: The
Multiple as Original.” Free and open to
the public.

12:30-2:30

Papermaking demonstrations by
Morgan Conservatory

Intermuseum Conservation
Association informs about paper
conservation.

EXHIBITORS

The Annex Galleries

Santa Rosa, CA: 20th-century Ameri¬
can prints

Armstrong Fine Art

Chicago, IL: 19th/21st-century French
prints and drawings

Center Street Studio

Milton Village, MA: Print publisher

Dolan/Maxwell

Philadelphia, PA: Contemporary
American and European prints and
drawings

Gallery 339

Philadelphia, PA; Contemporary pho¬
tography

Conrad Graeber

Riderwood, MD: American, European,
and Japanese prints and drawings

Marlborough Graphics

New York, NY: Contemporary prints
and photographs

Oehme Graphics

Steamboat Springs, CO: Print
publisher

The Old Print Shop

New York, NY: American prints,
1900-1950

Mary Ryan Gallery

New York, NY: American and British
prints and drawings, 1920/present

Signet Art

St. Louis, MO: Contemporary prints

Tamarind Institute

Albuquerque, NM: Print publisher

SUNDAY, SEPTEMBER 29

Lecture 11:00, Recital Flail

Professor Samantha Baskind of Cleve¬
land State University speaks on “Read¬
ing the Fine Print: Jewish Printmakers
in 20th-Century America.” Free and
open to the public.

12:30-2:30

Printmaking demonstrations by
Zygote Fine Art Press

Intermuseum Conservation
Association informs about paper
conservation.

The Verne Collection

Cleveland, OH: Ukiyo-e and contem¬
porary Japanese prints

Warnock Fine Arts

Palm Springs, CA: Contemporary
American and European prints

Information:

www.printclubcleveland.org

September/October 2013

Raffle Print Jim Dine, Tools for Creeley III, 2007, lithograph, 2VA x 27 in. Valued at
$3,500. Tickets $5 (six for $25). Donated by Tamarind Institute

C/)

Read It Online!

Cleveland Art is
available online at
www.ClevelandArt.
org/MembersOnly.
Conserve paper,
reduce costs, and
access your issues
anytime by signing
up to access your
magazine elec¬
tronically in Adobe
Acrobat pdf format.
To sign up, e-mail
membership@
clevelandart.org.
Please recycle your
printed magazine
if you don’t keep it
forever.

Dutch Painting

TRANSFORMATION

THANKS

Mr. and Mrs. Milton Maltz

The museum recognizes the
annual commitment of donors
at the Collectors Circle level and
above, featured throughout the
year on our Donor Recognition sign
located in the Gallery One corridor.
During September and October we
proudly acknowledge the annual
support of the following donors:

Nancy F. and Joseph P. Keithley
Mr. and Mrs. Douglas A. Kern
Steven and Denise Kestner
Mrs. Edward A. Kilroy Jr.

Peter B. Lewis

Toby Devan Lewis

William P. and Amanda C. Madar

PLANNED GIVING

A charitable gift annuity is a simple
way to increase your annual income
and make a significant gift to your
favorite charity.

The benefits of a charitable gift an¬
nuity are many, including guaranteed
payments for life that are favorably
taxed. Depending on how your gift
annuity is funded, either with cash or
appreciated securities, part of your
annuity payment will be tax free. In
addition, there is a federal income-tax
deduction for a portion of our gift and,
of course, you will be providing gener¬

ous support to the Cleveland Museum
of Art.

To learn more about creating a
charitable gift annuity with the mu¬
seum we encourage you to visit www.
clevelandart.giftplans.org to explore
your planned giving options. If you
would like to speak to a member of
our staff, please contact Diane M.
Strachan, CFRE, at 216-707-2585 or
dstrachan@clevelandart.org or
Jessica Anderson at 216-707-2198 or
janderson@clevelandart.org.

FOR A $10,000 GIFT:

Age

Annuity

Charitable

Annual Annuity

Rate

Deduction

Payment

5.1%

$3,582.10

$510

6.8%

$4,731.10

$680

$6,163.20

$900

www.ClevelandArt.org

UNPRECEDENTED:
FOUR MUSE AWARDS

Each year, the MUSE awards are pre¬
sented by the American Alliance of
Museums and recognize outstanding
achievement in museum media. In
May, the Cleveland Museum of Art’s
Gallery One received four awards
in the areas of: Interpretive Interac¬
tive Installations in Gallery One (gold
award), Interactive Kiosks for Sculp¬
ture Lens (gold award), the ArtLens
Mobile Application (bronze award),
and the Studio Play Education and
Outreach category (honorable men¬
tion). No museum previously had ever
received four AAM awards for media
and technology within the same year.

IN THE STORE

Tokyo Bay Watches Every two
months, the museum store of¬
fers a product at a special discount
for members. Tokyo Bay watches:
fashion-forward affordable selection
of watches using a Japanese Quartz
Miyota movement that is reliable and
accurate. $75 to $170; members 25%
off during September and October.

SUN 10-5

WED 10-9

THU 10-5

FRI 10-9

SAT 10-5

MON closed TUE 10-5

1 2

Member registration Museum closed

begins My Very First

Art Class; Homeschool

Studios; Art Classes for

Children and Teens R$

Guided Tour 1:30 &

2:30

Guided Tour 1:30

Film 7:00 Ai Weiwei:
Never Sorry

Art Stories 10:30-11:00
Teeny Tiny Tales R

Guided Tour 1:30

My Very First Art Class
begins 10:00 or 11:15

Guided Tour 1:30
MIX 5:00-9:00 Form!

Film 6:45 Becoming
Traviata $

Community Arts
around Town 1:00-
5:00 Garlic Festival:
Chalk Puppets

Guided Tour 1:30 &
2:30

Artist Talk 4:00 Trans¬
former Station. Shana
Lutker

Second Sunday

11:00-4:00 Growing
Up Cleveland

Community Arts
around Town 12:00-
6:30 Garlic Festival

Art Cart 1:00-3:00
Artists of Our Region

Guided Tour 1:30 &
2:30

Film 1:30 Becoming
Traviata $

Museum closed

Adult Studios begin

Intermediate Painting
10:00-12:30; Introduc¬
tion to Drawing 12:30-
2:30; Chinese Painting
1:00-3:30 R$

Art in the Afternoon

1:15 R

Guided Tour 1:30

Becoming Traviata

How does the lady
stay fat?

Adult Studios begin

Watercolor 9:30-12:00
*CAS; Printmaking
1:00-3:30; Watercolor
in the Evening 6:00-
8:30 *CAS R$

Guided Tour 1:30

Book Club begins 1:00
Art & Fiction

Make & Take 5:30-8:00
Making Felt Silhou¬
ettes $

Films 6:30 So Sorry &
Disturbing the Peace

Adult Studio begins

9:30-12:00 Beginning
Watercolor *CAS R$

Art Stories 10:30-11:00
Shoes, Shoes, Shoes R

Guided Tour 1:30

Guided Tour 1:30
Film 7:00 The Wall$

Guided Tour 1:30 &
2:30

Community Arts
around Town 4:00-
6:00 Bedford Weekend
of the Pooka

15 16 17 18

20 21

Registration begins Museum closed

My Very First Art Class;

Homeschool Studios;

Art Classes for Chil¬
dren and Teens R$

Guided Tour 1:30 &

2:30

Film 1:30 The Wall$

Chalk Workshop

2:00-4:30 Chalk Mak¬
ing and Street Paint¬
ing R$

Community Arts
around Town 3:00-
5:00 Bedford Week¬
end of the Pooka

Guided Tour 1:30

Stroller Tour 10:30-
11:30 Mythical Crea¬
tures R

Guided Tour 1:30

Chalk Workshop (re¬
peat) 6:00-8:30 Chalk
Making and Street
Painting R$

Film 6:30 The World

Art Stories 10:30-11:00
Dragons R

Art Bites 12:30 Inside
Down ton

Guided Tour 1:30

Womens Council
Roundtable 6:00 Vital
Signs

Guided Tour 1:30

Film 7:00 Computer
Chess $

All-Day Workshop

10:00-4:00 ShiboriRS

Chalk Festival 11:00-
5:00 $ (free to watch)

Community Arts
around Town Noon-
4:00 Sparx City Hop

Noon-5:00 Tremont
Arts and Cultural
Festival

Symposium 1:00-5:00
Circle of Animals/Zo¬
diac Heads

Guided Tour 1:30 &
2:30

22 23 24 25

26 27

Chalk Festival 12:00- Museum closed Guided Tour 1:30

5:00 $ (free to watch)

Community Arts
around Town noon-
5:00 Tremont Arts and
Cultural Festival

Art Together 1:00-
3:30 Linocut Block
Printmaking R$

Guided Tour 1:30 &

2:30

Adult Studio begins

10:00-12:30 or 6:00-
8:30 Drawing in the
Galleries R$

Guided Tour 1:30

Lecture 5:00 The
Carracci"Butcher
Shop”

Film 6:45 Dave Filipi
presents Rare Football
Newsreels $

Art Stories 10:30-11:00
Friends R

Guided Tour 1:30

Fine Print Fair
Preview 6:00-9:30
A Prints of a Party R$

Adult Studio begins

10:00-12:30 or 6:00-
8:30 Composition in
0/7 R$

Fine Print Fair

11:00-7:00 T

Guided Tour 1:30

Film 6:45 Evocateur:
The Morton Downey Jr.
Movie $

All-Day Workshop

10:00-4:00 Ikebana

Fine Print Fair

10:00-5:00 T

Guided Tour 1:30 &
2:30

Film 1:30 Evocateur:
The Morton Downey Jr.
Movie $

Film 1:30 Computer
Chess $

29 30

Fine Print Fair Museum closed

10:00-4:00 T

Guided Tour 1:30 &

2:30

Dr. John and Helen
Collis Lecture 2:00
Sicily: Art and Inven¬
tion Between Greece
and Rome R

Gallery Talk 7:00
Carrie Mae Weems and
Africa Barbara
Tannenbaum and
Constantine Petridis

An Anthropological Debate from From
Here I Saw What Happened and I Cried

1995-96. Carrie Mae Weems (American, born
1953). Chromogenic print with etched text on
glass; 2614 x 22 Z A in. Collection of the Museum
of Modern Art, New York, Gift on behalf of
the Friends of Education of the Museum of
Modern Art. From an original daguerreotype
taken by J. T. Zealy, 1850. Peabody Museum,
Harvard University. © 1977 President & Fel¬
lows of Harvard College. All rights reserved.
Digital image © 2012 MoMA, NY.

$ Admission fee
R Reservation required
T Ticket required
M Members only

*CAS Community
Arts Studio, 1843
Columbus Rd

Member registration
begins My Very First
Art Class R$

Guided Tour 1:30

Gallery Concert 6:00
CIM Young Artists

Film 7:00 Somm $

Family Game Night October 18

Art Stories 10:30-
11:00 Babies: All About
When You Were
Small R

Guided Tour 1:30

My Very First Art
Class begins 10:00 or
11:15 R$

Guided Tour 1:30
MIX 5:00-9:00 Muse T

Preconcert Talk 6:00
Sonia Rhie Quintanilla

Film 7:00 Herb and
Dorothy 50x50 $

Performance 7:30
L. Subramaniam $

Early Childhood
Educator Workshop

10:00-1:00 Integrating
Art Across the
Curriculum R$

Guided Tour 1:30 &
2:30

Guided Tour 1:30 &

Museum closed

Art in the Afternoon

Guided Tour 1:30

Art Stories 10:30-11:00

Guided Tour 1:30

Guided Tour 1:30 &

2:30

Film 1:30 Herb and
Dorothy 50x50 $

1:15 R

Guided Tour 1:30

Make & Take 5:30-8:00
Simple Book-making $

Films 6:30 Seven Intel¬
lectuals in a Bamboo
Forest Parts 1&4$

Color, Color Every¬
where! R

Guided Tour 1:30

Film 7:00 The Missing
Piece $

2:30

International Cleve¬
land Communities

Day 11:00-4:00
Multicultural family
activities

Art Cart 1:00-3:00
Artists of Our Region

Guided Tour 1:30 &

2:30

Film 1:30 The Missing
Piece $

Museum closed

Registration begins

My Very First Art

Class R$

Guided Tour 1:30

Homes chool Studio

10:30-12:00 Fall Scen¬
ery R$

Stroller Tour 10:30-
11:30 Before 1492 R

Guided Tour 1:30

Lecture 6:30 Robert
Wittman R$

Film 6:30 In the Fog$

Book Displays 6:30-
9:00 Octavofest

Art Stories 10:30-
11:00 A Is for Art! R

Guided Tour 1:30

Community Arts
around Town 6:00-
9:00 Boo at the Zoo

Guided Tour 1:30

Family Game Night

5:30-8:00 R$

Community Arts
around Town 6:00-
9:00 Boo at the Zoo

Film 7:00 The Trials of
Mohammad AH $

Art Classes for Chil¬
dren and Teens begin

10:00 or 1:00 R$

Guided Tour 1:30 &
2:30

Community Arts
around Town 6:00-
9:00 Boo at the Zoo

Adult Studio begins

12:30-3:00 Gestural
Drawing R$

Art Together 1:00-
3:30 Mosaics R$

Guided Tour 1:30 &

2:30

Film 1:30 The Trials of

Museum closed

Guided Tour 1:30

Gallery Talk 7:00

Film 6:30 The New
Babylon $

Art Stories 10:30-
11:00 Seasons: Fall R

Art Bites 12:30 Myster¬
ies in the Museum

Guided Tour 1:30

Community Arts
around Town 6:00-
9:00 Boo at the Zoo

Guided Tour 1:30

Community Arts
around Town 6:00-
9:00 Boo at the Zoo

Film 7:00 La Maison de
la Radio $

Guided Tour 1:30 &
2:30

Community Arts
around Town 6:00-
9:00 Boo at the Zoo

Mohammad AH %

Community Arts
around Town 6:00-
9:00 Boo at the Zoo

27 28

Guided Tour 1:30 & Museum closed

2:30

Film 1:30 La Maison de
la Radio $

Community Arts
around Town 6:00-
9:00 Boo at the Zoo

ONLINE

CALENDAR

Sortable online
calendar at
ClevelandArt.org/
calendar

Guided Tour 1:30

Preconcert Conver¬
sation 6:00 Mark
O’Connor and Joel
Smirnoff

Film 7:00 Old Dog $

Performance 7:30
O’Connor String
Quartet $

Old Dog Canine
commerce in Tibet

Art Stories 10:30-11:00
Spooky Stories R

Guided Tour 1:30

Periodicals
postage paid at
Cleveland, Ohio

THE CLEVELAND
MUSEUM OF ART

11150 East Boulevard
University Circle
Cleveland,Ohio
44106-1797

Dated Material
Do Not Delay

www.ClevelandArt.org

Museum Hours Administrative

Tuesday, Thursday, Telephones

Saturday, Sunday 216-421-7340

10:00-5:00 1-877-262-4748

Box Office

216-421-7350 or
1-888-CMA-0033
Fax 216-707-6659
Nonrefundable
service fees apply for
phone and internet
orders.

Facebook

Cleveland Museum
of Art

Ingalls Library

Tuesday-Friday

10:00-5:00

Parking Garage

0-30 minutes free;
$6 for 30 minutes to
2 hours; then $1 per
30 minutes to $12
max. $5 after 5:00

Provenance
Restaurant
and Cafe

216-707-2600

Twitter

@ClevelandArt

Blog

blog.clevelandart.

Open until 7:30
Wednesdays
beginning
September 4

Wednesday, Friday Membership

10:00-9:00 216-707-2268

Closed Monday membership®

clevelandart.org

Museum Store

216-707-2333

Reference desk:
216-707-2530

SICILY
P. 4

THE UNICORN
P. 6

DELENNE
COLLECTION
P. 10

GALLERY

PREVIEWS

PERFORMANCE
SEASON
P. 20

FILM P. 22

CHALK FESTIVAL

EDUCATION

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Full text of "Cleveland Art : The Cleveland Museum of Art Members Magazine. Vol. 53 no. 05, September/October 2013"

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